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THIRD  EDITION-PUBLISHED  APFtiL  15,  1903. 


Praftical 

Carriage  and  Wagon 

Painting 


A  TREATISE  ON   THE   PAINTING  OF  CAR- 
RIAGES,  WAGONS  AND  SLEIGHS,  EM- 
BRACING FULL  AND  EXPLICIT  DI- 
RECTIONS   FOR    EXECUTING 
ALL  KINDS  OF  WORK. 


INCLUDING 


PAINTING  FACTORY  WORK,  LETTERING, 

SCROLLING,  ORNAMENTING, 

VARNISHING,  ETC. 


-WITH- 


MANY  TESTED  RECIPES  AND  FORMULAS 


PROFUSELY  ILLUSTRATED 


Bv  M.  C.  HILLICK 


CHICAGO,    U.    S.    A.: 
PRESS  OF  THE   WESTERN    PAINTER 

1903 


Copyright  1900 

By 

Charles  H.  Webb. 


t 


DEDICATED  TO  THE 

VEHICLE  PAINTERS  OP  AMERICA 

AND  THE  WORLD. 


PREFACE  TO  THIRD  EDITION. 


The  great  demand  for  Practical  Carriage  and  Wagon  Painting 
has  already  exhausted  the  second  edition,  and  orders  are  arriving  in  increas- 
ing numbers  every  day.  The  publisher  wishes  to  express  his  grateful 
thanks  to  the  trade  for  the  generous  patronage  accorded  the  work.  Not 
only  would  we  express  our  thanks  to  those  who  have  purchased  the  book, 
but  we  feel  deeply  grateful  to  the  trade  press  for  the  generous  reviews  and 
kindly  expressions  of  approval  that  they  have  given  the  volume.  We  send 
the  third  edition  forth  with  the  conviction  that  it  is  an  improvement  over 
the  old  ones  in  many  respects,  although  we  think  the  other  editions  were 
well  worth  the  price  charged  for  them. 

It  has  been  almost  twenty  years  since  a  volume  on  carriage  and  wagon 
painting  made  its  appearance  in  this  country,  during  which  time  the  enter- 
prising carriage  painter  has  been  wide  awake.  He  has  found  many  new 
processes  and  a  multitude  of  new  materials  of  which  the  workman  of  twenty 
years  ago  knew  nothing;  he  has  raised  vehicle  painting  from  a  simple  me- 
chanical process,  which  was  intended  to  preserve  the  surface  from  decay,  to 
a  fine  art  of  the  highest  order,  and  fashionable  people  now  take  as  much 
pride  in  having  beautiful  and  stylish  equipages  as  they  do  in  wearing  cloth- 
ing that  is  up  to  date,  or  in  securing  jewels  that  are  sufficiently  brilliant  to 
dazzle  all  beholders. 

No  one  realized  more  fully  than  the  writer  that  an  up-to-date  work  on 
the  difficult  but  noble  calling  of  the  carriage  and  wagon  painter  was  badly 
needed,  so  he  began  to  cast  about  for  someone  who  was  fully  qualified  for 
the  task  of  writing  such  a  book.  He  knew  that  the  author  of  such  a  work 
should  be  a  man  of  extended  trade  practice  and  one  who  could  divest  him- 
self of  high-flown  scientific  Jterms  and  make  his  language  so  plain  that  any 
workman  who  cared  to  do  so  could  easily  comprehend  the  instruction  given. 
A  careful  survey  of  the  field  led  to  the  selection  of  Mr.  M.  C.  Hillick,  whose 
work  for  the  magazines  during  the  past  ten  or  twelve  years  has  done  so 
much  to  assist  carriage  and  wagon  painters  to  elevate  their  calling  to  its 
present  high  standard.  Mr.  Hillick  has  long  held  a  high  place  among  the 
best-known  carriage  painters  in  this  country,  is  thoroughly  posted  on  all 
the  various  branches  of  the  business,  and  has  the  happy  faculty  of  being  able 
to  impart  his  knowledge  to  others  in  such  a  plain,  practical  way  that  they 
cannot  fail  to  understand  him.  His  excessive  modesty  came  very  near  caus- 
ing him  to  decline,  but  he  was  finally  induced  to  undertake  the  work,  and 


PRACTICAL  CAHRIAGE  AXJ)  WAGOX  PAINTIXG.  v 

Practical  Carriage  and  Wagon  Painting  is  presented  to  a  generous 
public  with  the  knowledge  that  its  superior  has  never  made  its  appearance 
in  this  country. 

It  is  but  a  short  time  since  the  demands  of  the  times  gave  birth  to  that 
great  institution — the  factory  shop — that  monster  establishment  from  which 
hundreds  of  vehicles  are  turned  out  daily.  The  writer  pleads  guilty  to  a 
strong  prejudice  against  the  class  of  work  done  in  these  factories,  yet  he  is 
compelled  to  admire  the  finished  product  and  applaud  the  genius  of  the 
painter  who  can  thus  marshal  his  forces  and,  by  working  to  a  set  of  fixed 
rules,  seem  to  defy  natural  laws,  and  out  of  it  all  bring  a  thing  of  beauty 
which,  while  it  does  not  prove  a  "joy  forever,"  does  pos.sess  a  degree  of 
durability  that  we  of  the  old  school  of  carriage  painters  were  lead  to  believe 
was  impossible.  It  has  remained  for  Mr.  Hillick  to  take  us  through  this 
great  establishment,  and  he  describes  the  processes  and  gives  us  the  form- 
ulas that  are  employed,  in  such  plain,  helpful  language,  that  no  one  can 
read  his  words  without  profit  as  well  as  pleasure. 

Time  and  space  forbid  (even  if  I  had  the  ability  to  give  it)  a  compre- 
hensive review  of  this  work.  It  would  be  impossible  to  enumerate  the  rail- 
lions  of  good  points  it  possesses,  so  it  is  best  to  let  the  succeeding  pages 
speak  for  themselves.  They  will  do  it  much  more  eloquently  than  I  could 
hope  to  do.  I  am  sure  of  one  fact,  and  it  is  that  if  carriage  and  wagon 
painters  all  over  the  world  will  read  and  practice  the  teachings  of  the  suc- 
ceeding chapters  they  will  become  better  painters,  better  citizens,  and  our 
country  roads,  as  well  as  our  boulevards,  will  sparkle  with  a  stream  of  better 
painted  and  more  beautiful  vehicles. 

When  the  writing  of  Practical  Carriage  and  Wagon  Painting 
was  committed  to  Mr.  Hillick,  the  writer  expected  great  things  of  him. 
Now,  as  I  look  over  the  chapters  of  the  completed  work,  I  am  happily  con- 
scious of  the  fact  that  I  am  not  disappointed  in  the  slightest  degree,  and  I 
wish  to  thank  Mr.  Hillick  for  giving  to  the  vehicle  world  a  work  on  painting 
that  will  prove  helpful  to  the  master  workman  as  well  as  to  the  ambitious 
apprentice. 

CHARLES  H.  WEBB. 

CHICAGO,  April,    igos. 


CONTENTS. 

Introductory 


CHAPTER  I. 

THE  SHOP  AND  ITS  EQUIPMENT. 

Locating  and  Fitting  up  the  Shop— System  of  Ventilation — Furnishing  and 
Equipping  the  Varnish  Room— The  "Set  Room,"  Etc.— With  Fourteen 
Illustrations  of  Labor-Saving  Devices  for  the  Paint  Shop  and  Varnish  Room      3 

CHAPTER  II. 

BUYING,  USING,  AND  PRESERVING  BRUSHES. 

How  to  Select  a  Brush — How  to  Care  for  It — Softening  the  Hard  Brush — Brush 

Keepers — Preserving  Liquids,  Etc. — With  Seventeen  Illustrations 9 

CHAPTER  III. 

THE  SURFACING   STAGE  OF  PAINTING. 

Materials  Used — Priming — Its  Importance— Numerous  Formulas  for  Primers — 
When  to  Prime  and  How — Lead  Coats — Their  Office  and  Significance — Rub 
Lead,  with  Full  Directions  for  Making  and  Applying — Knifing  Lead,  with 
Numerous  Formulas  for  Making  It — Putty — Ten  Formulas  for  Making  Putty 
— Directions  for  Using  Putty  so  as  to  Obtain  the  Best  Results — Sandpaper- 
ing— How  and  How  Not  to  Do  It — Sizes  of  Paper  to  be  Used — RoughstufT — 
Many  Formulas  for  Making  It— The  Mission  of  RoughstufT,  with  Full  and 
Complete  Directions  for  Applying  and  Surfacing  It — Six  Illustrations  Ac- 
^mpany  the  Chapter 17 

CHAPTER  IV, 

COLORS. 

Colors  Scientifically  Analyzed — Prismatic  and  Objective  Color — The  Orders  of 
Objective  Colors  and  their  Uses  in  Vehicle  Painting— Harmonizing  and 
Contrasting  Colors — Testing  Colors — Assaying  for  Opacity,  Coloring 
Strength,  Brilliancy,  and  Durability — With  a  Practical  Working  Table  for 
Compounding  9.')%  of  the  Most  Fashionable  and  Popular  Colors  Used  in 
Modern  Carriage  and  Wagon  Painting 28 

CHAPTER  V. 

THE  APPLICATION  OF  COLORS  TO  SURFACES. 

Detailed  Instructions  for  Preparing  the  Foundation  Colors— How  to  get  the  Fin- 
est Results  in  Using  the  F^ver-Popular  Greens,  Blues,  and  the  Varied  Colors 
Belonging  to  the  Red  Order — Also  Yellows,  Browns,  and  Blacks— Complete 
Information  Covering  the  Painting  of  a  White  Job 37 

("H AFTER  VI. 

VARNISH,  A.VD  THE  MARVELOUS  THING  ABOUT  IT. 

Virtues  of  Varnish— Brief  Review  of    its  Mission— Applying  Rubbing  Varnish— 


PRACTICAL  CARJilAGE  AXl)  WAGON  PAINTING.  vii 

Surfacing  It,  and  the  Tools  and  Appriances  Used — Importance  of  the  Water 
Supply,  Washiny  Up,  Etc.— The  Tale  of  Fine  Varnishing-  Made  Easy — 
Plowing-  the  Finishing  Coat — Varnishing  Running  Parts — Various  Move- 
ments Necessary — Numerous  Illustrations 4? 

CHAPTER  VII. 

DEPRAVITIES  OF    VARNISH. 

Their  Causes  and  Cure  or  Prevention — Graining  Out — Cracking — Sweating — 
Deadening,  Sinking  In — Enameling,  Silking,  Etc. — Pitting — Seedy  or 
Specky— Crawling— Wrinkling,  Crinkling — Runs,  Sags,  Curtains,  Drap- 
eries—Ridging, Roughing — Perishing,  Crurahling,  Rusting— Chipping, 
Flaking,  Peeling— Fire  Checks— Greening — Blooming— Blisters— Spotting    54 

CHAPTER  VIII. 

STRIPING  AND  ITS  PURPOSE. 

How  to  Learn  the  Art — Directions  for  Making  Pencils  and  Caring  for  Them — 
Mixing  Striping  Colors— Names  of  Stripes— With  Thirty-Six  Illustrations, 
including  Pencils,  Various  Styles  of  Stripes,  Panel  and  Corner  Designs,  Etc.     61 

CHAPTER  IX. 

SCROLL  PAINTING. 

The  Passing  of  the  Fine  Old  Roman  Scroll  and  its  Destined  Return  to  Favor- 
Relief  and  Flat  Scrolls  Fully  Described— How  to  Learn  the  Art  of  Scrol- 
ling— Scrolls  in  Gold,  Aluminum,  and  Colors— The  Basis  of  Beautiful  Scroll 
Work— Recipes  for  Gilding  Size— With  Eighteen  Illustrations,  Including 
Five  Full-Page  Designs  of  Relief  and  Flat  Scrolls , 75 

CHAPTER  X. 

LETTERING. 

Wagon  Lettering  as  Distinguished  from  Sign  Writing— Specific  Directions  for 
Learning  the  Art  of  Wagon  Lettering,  Including  Laying  Out,  Spacing, 
Outlining,  Balancing,  Shading,  Punctuation,  Etc.— Roman,  Modified  Block, 
Ornamental,  and  Grecian  Alphabets,  Numerals,  Etc.,  Shown — With  De- 
signs for  Business  Vehicle  Panels 89 

CHAPTER  XI. 

MONOGRAMS. 

Their  Antiquity,  Relation  to  Modern  Vehicle  Painting,  Etc.— Designing  and 
Painting  the  Monogram— Necessary  Tools — Making  a  Transfer  Monogram— 
LeadingColors  and  Engaging  Combinations— With  Eighteen  Illustrations  102 

CHAPTER  XII. 

PAINTING  THE  MODERN  BUSINESS   WAGON. 

Considered  as  a  Work  of  Art  and  as  an  Advertising  Medium— Practical  Instruc- 
tions which  Cover  the  Various  Classes  of  Business  Vehicles— The  Factory 
Method  Explained — Painting  Heavy  Trucks  and  Farm  Wagons— Popular 
Colors  for  Painting  Business  Wagons— Numerous  Formulas  for  Painting 
Canvas  and  Cloth  Tops 109 


viii  rKACTICAL  CAliHLinE  AXD  WAGON  PAINTING. 

CHAPTER  XIII. 

RE-PAINTlNG   AND  RE-VARNISHING   VEHICLES. 

Full  Description  of  Manner  of  Doing  the  Various  Classes  of  Work— How  to 
Match  Colors— To  Burn  Off  Paint— Tables  of  Materials  used  in  Painting 
Vehicles— Treatment  of  Tops  and  Dashes,  Formulas  for  Dressings,  Etc.— 
Method  of  Marking  Vehicles— Washing  Finished  Wo)-k— Schedule  of 
Prices  for  Repainting    IH 

CHAPTER   XIV. 

A    PRACTICAL   STUDY   OF   MATERIALS. 

White  Lead — Imi)ortance  of  il«  Puiity— Quality  of  Colors  in  General— Adulter- 
ation as  Viewed  from  the  Painter's  Standpoint— Purity  of  Raw  Linseed 
Oil — Turpentine — Testing  Coach  Japan — Varnish 130 

CHAPTER  XV. 

PAINTING  CUTTERS  AND  SLEIGHS. 
Decorative  Features  of  the  Work — The  Various  Pi-ocesses  of  Painting  Fully  De- 
tailed—The  Anli-Kalsomine   Method— Prevailing  Colors— Striping  -and 
Scrolling — Instructions  Bearing  upon  Re-painting,  Re-varnishing,  Etc.-- 
With  Nine  Artistic  Ornaments 139 

CHAPTER  XVI. 

FACTS  AND  FORMULAS  FROM  THE  PAINT  SHOP  DIARY. 

Many  Practical  Matters  and  Methods  Briefly  Stated— Blending  of  Colors— Spon- 
taneous Combustion— The  Best  Varnish  Room — Remedy  for  Rusted  Car- 
i-iage  Springs  -Painting  Metallic  Surfaces-  Thinning  Varnish— Painting 
a  Natural- Wood  Finished  Job — Repairing  Bruised  Surfaces — How  to  Make 
Varnibh  Go  Wrung.  Etc.,  Etc 148 


INDEX  TO  ADVERTISERS. 


Pratt  \-  Lanil)ert Ix 

Ciiicago  X'arnish  Company x 

Murphy  \'arnlsli  (.'orupany xi 

.John  W.  Masury  X:  Son xii 

Surrey  N'arnisli  Company xiii 

Standard  Varnish  Works .^ xiv 

Natif)nal  Lead  Company xv 

Berry  Bros xvi 

Joiin  Lucas  Company xvii 

The  Western  I'ainttT xviii 

P^lward  Smith  \'  Company xix 

William  .Sedgwick xx 

John  L.  Wljitlng  >.V  Son  Co. xxi 

<ieo.  E.  Watson  Company xxii 

N'alentinc  .S:  Company.                           xxiii 


IN  TROD  UCTOR  Y. 


IN  many  of  its  elementary  principles  the  art  of  carriage  and  wagon  paint- 
ing as  at  present  exemplified  does  not  materially  diflFer  from  the  art  as  it 
was  interpreted  in  the  remote  past.  Processes  and  systems  have 
changed  and  adapted  themselves  to  the  swifter  modes  of  life,  but  not  a  few 
of  the  paint  materials,  especially  those  used  in  the  foundation  and  surfacing 
coats,  remain  practically  the  same  as  used  in  former  times.  The  P.  W.  F.'s, 
as  surfacing  agents  expected  to  take  the  place  of  white  lead  and  oil  and  their 
assistant  pigments,  tossed  merrily  upon  the  topmost  wave  of  favor  for  a 
brief  period  some  two  decades  ago,  but  the  fiat  of  their  decline  went  forth 
and  at  the  present  time  the  great  majority  of  carriage  and  wagon  painters 
still  adhere  to  white  lead,  raw  linseed  oil,  ochres,  and  regulation  roughstuff 
pigments  for  their  foundation  materials,  as  did  their  instructors  and 
predecessors. 

The  abbreviated  time  allowance  accorded  the  painter  for  the  painting 
and  finishing  of  a  vehicle  has  made  necessary  a  readjustment  of  proportions 
of  both  liquid  and  pigmeni  ingredients  which,  it  must  be  confessed,  has 
operated  in  a  way  harmful  to  the  natural  durability  of  the  material  employed. 
The  painter,  however,  can  in  no  wise  be  held  responsible  for  the  general 
lack  of  durability  which  is  said  to  distinguish  the  painting  of  the  present  as 
compared  to  that  of  the  past.  The  great  inexorable  Public  is  the  master, 
the  painter  its  unwilling  but  submissive  servant. 

Nevertheless,  conditions  of  permanency  and  durability  are  still  wrought 
and  achieved  in  the  modern  field  of  carriage  and  wagon  painting,  conditions 
which  conform,  with  a  large  measure  of  credit  to  the  art  of  painting,  to  the 
other  resultant  durable  effects  obtained  along  nearly  all  other  lines  of 
industrial  activity. 

Our  painting  today  fails  to  excel  the  painting  of  tradition  simply 
because  the  exactions  of  a  wonderfully  fast  age  tend  directlj^  to  promote 
failure  rather  than  to  aid  success. 

The  job  of  painting  which  withstands  fierce  and  continuous  attacks  of 
service  for  a  reasonable  length  of  time  must  be  justly  registered  durable, 
regardless  of  what  it  would  have  been  termed  in  the  past.  Past  conditions 
and  circumstances  cannot  fairly  be  used  as  yardsticks  to  measure  what  we 
at  present  call  beautiful  and  enduring  in  the  art  of  painting. 

In  the  matter  of  tools,  appliances  for  handling  work,  colors  and 
varnishes  used,  carriage  and  wagon  painting,  amid  the  advances  made  in  all 
the  other  constructive  departments  of  industry,  has  enjoyed  improvement. 
Brushes   in   greater  variety,  finer   in   quality,  and    better   adapted    to   the 


2  rEACTICAL  CARRLUiE  ASD  WAGON  PAINTING. 

practical  needt?  of  the  painter,  are  in  evidence.  Colors  of  a  wider  range  of 
hues,  tints,  shades,  and  incomparably  finer  as  to  quality  than  were  obtain- 
able formerly,  are  now  at  the  disposal  of  the  painter.  And  the  varnishes— 
surely  they  have  been  improved,  made  more  reliable,  more  uniform  in 
quality,  better  behaved  and  more  suited  to  the  ever-varying  requirements  of 
service. 

Carriage  and  wagon  painting  has  become  as  much  of  a  business  as  an 
artistic  venture.  Commercial  conditions  have  of  late  years  so  shaped 
themselves  that  the  painter,  to  successfully  conduct  a  painting  business, 
must  of  necessity  study  the  profound  science  of  business  quite  as  thoroughly 
as  he  does  the  science  of  building  paint  structures  and  developing  color 
effects.  He  imparts  a  moral,  business,  and  mechanical  force  to  the  com- 
munity. He  now  has  available  sources  of  education  more  easily  within  his 
reach  than  at  any  former  time.  Paint  trade  literature,  so  far  as  it  is 
represented  in  magazine  form  at  least,  is  at  hand  to  render  him  aid  and 
encouragement.  He  is  rapidly  becoming  better  fitted  to  meet  the  expanding 
limits  of  competition,  to  critically  analyze  both  the  theory  and  practice  of 
painting,  to  become,  in  short,  a  greater  power  for  good  in  the  community  as 
well  as  a  studious  and  original  mechanic. 

In  the  inseparable  community  of  business  interests,  the  painting  of  the 
vehicular  equipment  has  reached  the  level  of  a  prominent  industry. 

Its  chief  attainments  are,  firstly,  to  preserve  the  structural  parts  of  the 
vehicle  from  the  action  of  the  elements;  secondly,  from  %h.e  remorseless  and 
gnawing  tooth  of  .service;  thirdly,  to  aid  in  making  the  vehicle  really 
beautiful,  a  work  of  art. 

The  mis.sion  of  the  following  chapters  will  be  to  record  the  systems, 
methods,  and  processes  practiced  in  modern  carriage  and  wagon  painting,  to 
the  end  that  the  apprentice — good  luck  to  him,  and  may  he  pluck  the  peach 
from  the  sunniest  side  of  the  fence  always — may  be  enlightened,  that  the 
already  skilled  workman  may  be  interested  somewhat,  and  that  the  trade  of 
carriage  and  wagon  painting  may  be  welcomed  as  a  delightful  guest,  worthy 
of  enthusiastic  entertainment. 


CHAPTER 


THE    SHOP     AND     ITS     EQUIPMENT. 

"Give  ample  room  and  verge  enough." — Gray. 

IT  would  not  be  fit  nor  seemly  to  lay  down  any  arbitrary  rules  for  the 
guidance  of  the  painter  in  the  selection  or  construction  of  the  paint 
shop.     Conditions  and  circumstances  here  control.      But  so  far  as  the 

painter  is  able  to  have  authority  in  the  matter  it  should  be  directed  in  favor 

of  large,  roomy  apartments,  high    ceilings,  and    a    fine  outfit  of   windows. 

Light  is  an  indispensable  commodity  in  the  paint  shop.       And  room — there 

is  never  an  excess  of    it.     To  do  good  work   at   a  profit   invokes  an  easy, 

commodious  working  space.  To  this  end, 
therefore,  the  painter  may  well  direct  his  best 
endeavors.  Nor  should  the  ventilation  be 
neglected.  A  ventilator  in  quite  common  use, 
old-time  but  effective  when  the  construction  of 
the  shop  permits  of  its  use,  consists  of  the 
regulation  stove  pipe,  say  12  inches  in  diame- 
ter and  extending  18 
inches  or  2  feet  above 
the  roof  of  the  building, 
furnished  at  its  upper 
extremity  with  a  revolv- 
ing hood  or  cap.  The 
local  tinsmith  usually 
has  an  invention  of  his 
own  in  the  way  of  revolv- 
ing ventilators  which  is  workable  and  nicely  suited  to 

the  needs  of  the  paint  shop.     Where  ceiling  ventilators 

are  not  practicable,  apertures  some  8  inches  in  diameter 

may  be  made  in  the  walls  well  up  toward  the  ceiling,  one 

or  two  on  each  .side  of  the  room,  according  to  the  size  and 

location,  and    into  these  apertures  insert   tin    frames, 

both  ends  of  which  are  covered  with  wire  gauze,  the 

gauze  on  the  inside  or  room  end  of  the  fixture  being 

fitted  to  a  hinged  lid  frame.     Into  this  tin  and  gauze 

compartment  put  clean  curled   hair  or  moss.      Metal 

caps  may  be  fitted  to  cover  the  inside  opening  of  these 

ventilators,  so  that  if  necessary  the  air  can  be  shut  out 

entirely  so  far  as  entrance  through  these  channels  is   Fig.  2— Wheel  Jack 


u. 


Fig.  1— Wheel  Jack. 


PRACTICAL  CAltlilACE  AXD  WAGOX  PAINTING. 


concerned.     There  are  numerous  other  styles  of  ventilators,  but  they  do  not 

call  for  mention,  as  local* and  individual  needs  will  suggest   the  kind  most 

feasible  to  adopt. 

The  mixing  liench  should  be  located  in  a  light  corner 

of  the  room.     It  should  be  furnished  with  a  slab  of  marble 

or  stone,  preferably  marble.     A  cupboard  with    tightly 

fitting  doors  should  be  over,  or  at  the  side  of,  the  bench 

with   specially    prepared 

boards  on  which  to  wipe 

bru.shes   near   at    hand.     A 

first-class  paint  mill  should 

be  a   fixture  in  close  prox- 
imity  to   the   paint    bench. 
The  varnish  room  (sacred 

temple  of  the  painter's  hopes 

shall  we  say?),   over  which 

men  rarely  fail  to  disagree, 

needs  to  be  everj^  inch  as 
large  as  conditions  will  permit.  It  should  have  ventilators,  such  as  above 
described  or  similar,  in  plenty.  The  gauze  and  tin  funnel  ventilators  might 
well  be  used  near  the  floor  and  ceiling,  thus  driving  the  room  impurities  up 
and  out.  The  varnish  room  cannot  well  be  too  large,  nor  too  light,  nor  too 
cosy.  Nor  can  it  follow  too  closely  the  Quaker's  code  as  to  furnishings,  for 
"unadorned,  adorned  the  most"  strictly  applies  to  this  historic  apartment. 


Fig.  3. 


-Long-Acre  Body 
Trestle. 


Fig.  5— Body  Trestle. 


Fig.  fi— Body  and  Gear  Trestle. 


It  is  agreed  that  the  northeast  corner  of  the  .shop  is  the  best  location  for  the 
varnish  room.  The  north  light  is  the  most  restful  and  the  ea.siest  light  to 
work  by,  and  it  is  esteemed  the  best  drying  light.  The  room  ought  not  to 
be  placed  immediately  over  the  smith  .shop.  It  should  have  plenty  of 
windows,  north  and  east,  and  made  to  lower  at  the  top.  If  possible,  have  a 
hardwood  floor,  and  oiled,  with  ceiling  and  side  walls  of  matched  lumber, 


riiAcriCAL   CAUIilAdE  AM>   \\A(;<).\   J'AL\TJ\(,\  5 

good  quality  and  preferably  painted  white  or  some  very  light  color,  that  it 
will  reflect  the  light.  Personally,  I  am  in  favor  of  blue  colored  shades  for 
north  windows  and  yellow  ones  for  east  and  west  windows.  If  possible, 
connect  a  "set  room,"  provided  with  abundance  of  light,  with  the  varnish 
room,  into  which  the  work  may  be  removed  the  morning  after  finishing. 
The  varnish  room  requires  a  small  cupboard  for  holding  varnish,  cups, 
dusters,  brushes,  chamois  skins,  sponges,  etc.,  a  body  trestle  or  two,  a  few 


Fig.  7 — Guar  Frame. 


Fig.  8— Seat  Frame. 


wooden,  low-cut  horses  for  supporting  the  varnished  w^ork,  a  stove,  if  the 
shop  be  not  heated  by  other  means,  a  sliding  door  or  two,  and — that's  all. 

The  colors,  pigments,  and  brushes  will  be  considered  in  their  appropriate 
order  as  the  chapters  proceed.  Many  shoj)  fixtures  will  be  similarly 
presented. 

The  work-handling  appliances  here  furnished  have  been  observed, 
studied,  and  many  of  them  used  by  the  writer  in  his  travels  up  and  down 
the  land  of  paint  shops.  The  revolving  wheel  jack  is  an  indispensable 
fixture  in    the  paint   shop.     Fig.   1    has  a  plank   base,  and   an  axle  for  a 


Fig.  9— Frame  for  Bodies. 


Fig.  10— Gear  Horse. 


standard.  The  cut  shows  how  it  is  made.  Many  shops  use  it.  Fig.  2  is 
frequently  seen  in  provincial  paint  shops.  It  consists  of  a  hardwood  scant- 
ling of  the  size  noted  in  the  cut,  with  a  S^-inch  or  ^-inch  round  iron  stuck 
into  one  end  and  projecting  7  inches  out.  A  hole  to  nicely  take  the  iron  is 
bored  through  the  floor  into  a  joist,  a  floor  plate  is  placed  over  it,  and  the 
upright  is  ready  to  revolve.  A  tapering  piece  of  round  iron  ^^  inch  at  the 
base  is  driven  through  the  upper  end  of  the  standard,  having  a  projection  of 
7  or  8  inches.     A  thick  metal  washer  is  then  slipped  over  the  arm,  thus 


rUACTICAL  CARRIAGE  AND  WAGON  PAINTING. 


completing  the  fixture.  Fig.  3  is  largely  used  in  factory  shops.  It  is  the 
finest  wheel  jack  extant.  Observ^e  the  bottom.  Almost  anj^  foundry  will 
cast  one  at  from  $1.25  to  $1.50  each.  Weight,  from  40  to  60  lbs.;  diaiueter, 
18  to  20  inches;  hole  for  insertion  of  arm,  1  inch  to  \%  inches.  Weld  stub 
axle  to  the  round  arm.  Have  varying  sizes  of  axle  stubs,  from  }{,  ]^,  and 
1  inch  to  1  j{  inches.  This  is  a  particularlj'  fine  jack  for  wheel  striping 
purposes.  Can  be  easily  transferred  to  any  part  of  the  shop,  and  runs  true. 
The  lyOng-Acre  body  trestle,  a  London  production,  is  often  met  with  in 
the  paint  shop.  Fig.  4  shows  it  in  working  order,  on  rollers,  and  the 
wheels  connected  with  a  wooden  pin  for  a  pivot.  P'ig.  5  is  a  second  body 
trestle,  neat,  easy  to  work,  and  the  cut  quite  completely  explains  how  it  is 
built.  Height,  and  proportion  of  parts  can  be  made  to  suit  the  individual 
fancy.     Fig.  6  represents  a  combination  body  and  gear  trestle  largely  used 


•0=; 


U 


Fig 


RuuBiNG  Deck. 


Fig.  12— Asphalt  or  Cement 
Deck. 


in  factory  paint  shops.  Height,  3  ft,,  2  in. ;  length  of  revolving  frame  pieces, 
27  in.,  2x2  in.  in  size.  A  4x4-inch  piece  9  in.  long  supports  the  frame. 
Inclined  pieces  are  25  in.  long;  size,  2x2  in.  The  trestle  is  of  hardwood, 
or  hhould  be,  bolted  together.  Fig.  7,  a  gear  frame,  fits  onto  the  frame  of 
Fig.  6.  It  should  be  4  ft.,  6  in.  long  and  14  in.  wide.  It  easily  takes  the 
shortest  gears  as  well  as  the  longest,  and  the  workman  is  enabled  to  always 
obtain  the  best  possible  light.  Fig.  8  is  a  seat  frame  made  to  fit  the  trestle. 
Fig.  6.  Make  it  of  1-inch  stuff.  Length,  2  ft.;  height  at  rear,  9  in.;  front, 
2  in.;  width,  13}^  in.,  to  fit  frame.  This  holds  a  carriage  seat  in  capital 
shape  for  painting  and  finishing.  Fig.  9  is  a  frame  for  holding  bodies  while 
varnishing  tliem  or  while  rubbing  the  varnish.  One-inch  pine  boards  6  in. 
in  width  afford  good  material  for  the  frame.  Let  it  be  from  32  to  36  in. 
high,  about  the  same  in  length,  and  27  in.  wide.     At  top  of  standards  bolt 


PRACTICAL  CAlililAGE  AM)  WA(i(J\  I'MMIXa. 


\ 


7xl-inch  pieces  G  in.  long,  containing  steel  brads  to  hold  the  work  in  place. 
Fig.  10  is  a  horse  for  holding  carriage  gears  during  the  process  of  painting 
and    finishing.     Gear   horses  can't  all    be  revolving  ones,  and    this  one  is 
strong  and  handy  to  work  around      Make  the  legs  of  3x1  >^  pine  or  ash  and 
the  bed  piece,  to  which    the  iron  standards  are  bolted,  of   a.sh  3x3  inches. 
Bolt   the  legs  to  the  bed  piece  and   stay  them  in   the  middle.      The  iron 
.standards,  ,;.,  in.  thick  and  1>^  in.  wide,  are  cranked  over  at  right  angles,  as 
shown  in  cut,  bolted  firmly  to  bed  piece,  and  at  upper  ends  are  hollowed  out 
to  hold   the  axle  arms.       Height  of  horse,  30  to  34  inches;    width,   wide 
enough  to  take  a  gear  from  4  ft.  to  5  ft.,  4  in.     I^t  the  iron  standards  go  30 
inches  long,  cranked  at  the  middle.     A  rubbing  deck  for  roughstufif  and 
varnish  rubbing,  washing  up  work,  etc.,  is  a  necessity  even    in    the  small 
shop.     Fig.  11  explains  an  inexpensive  one.     A  A  is  the  shop  floor,  D  the 
wall,  B  B  the  false  or  double  floor  inclining  to  the 
center,  where  a  shallow  metal  gutter  is  let  into  the 
floor  opening  to  a  waste  pipe  which  conveys  all  the 
waste  matter  outside  the  shop.     The  outer  edges  of 
the  double  floor  rest  upon  stoutly-secured  blocks  of 
wood.       Fig.   12  shows  an 
asphalt  or  cement  rubbing 
deck  in  general  use  in  many 
leading  shops.       G   is    the 
shop     wall,    F    the    waste 
pipe,    E    the   deck.       The 
asphalt  deck  is  not  an  ex- 
pensive  fixture,    neither 
wears   nor   rusts  out,  and, 
like  Fig.  11,  is  a  practical 
time    saver.     And    along 
with    the  rubbing  deck  the 
painter  should  adopt  measures  for  securing  a  plentiful  supply  of   clean  soft 
water  for  shop  uses,  and,  if  possible,  have  it  piped  directly  to  the  rubbing 
deck.     These  are  days  of  hard-fought  business  battles,  and  any  aid  that  will 
out-foot  one's  competitor  is  an  effective  aid.     A  good  water  supply  right  at 
hand  helps  mightily.     Fig.  13  is  a  deck  barrel  for  holding  a  ready  supply  of 
water  for  the  rubber;  also  for  holding  certain  styles  of  carriage  and  cutter 
bodies  while  rubbing.     The  slit  cut  at  an  angle  lets  a  buggy,  surrey,  or  other 
carriage  seat  in,  and  holds  it  fast  while  the  rubbing  proceeds. 

The  varnish  room  stove,  when  one  is  forced  to  use  such  a  fixture,  gives 
the  painter  much  concern.  In  Fig.  14  is  to  be  ob.served  a  way  of  enclosing 
the  stove  in  sheet-iron,  after  the  fashion  of  the  railroads  once  upon  a  time. 
Cut  an  opening  in  the  wall  separating  the  varnish  room  from  some  one  of 
the  other  apartments,  set  the  stove  just  inside  the  varnish  room,  inclose  it 
in  the  sheet-iron  cylinder,  making  the  cylinder  fit  close  into  the  wall  open- 


Fic.  13— Deck  B.^kkel. 


Fig.  14— Varnish  Room 

Stove. 


VHACTICAL  CARRIAGE  AyD  \yAnOX  PAiyTING. 
ing,  and  have  the  opening  to  the  stove,  and  the  stove  door,  reached  from  the 
room  adjoining  the  varnish  room.     Even  when  wholly  located  in  the  varnish 
room  such  a  cylinder,  enclosing  the  stove  all  over,  is  a  practical  reducer  of 
stove  dirt,  etc. 

Note.— Fips.  3.  "j.  6,  and  14  of   this  chapter,  and  Figs.  1.  2.  and  3  of  Chapter  II. 
are  published  by  jiermission  of  the  Hub. 


CHAPTFk   II. 


BUYING  AND  SELECTING  BRUSHES  CARE  OK  THEM  SOFTENING  HARD 
BRUSHES  BRUSH  KEEPERS  PRESERVING  LIQUIDS  BRUSHES  USED 
IN    VEHICLE  PAINTING,  ETC. 

ONIC  conspicuously  famous  brusli  maker  lias  declared  the  art  of  brush 
making  to  be  "an  art  preservative."  The  carriage  and  wagon 
painter  is  deeply  concerned  in  the  achievements  of  that  art,  because 
every  distinct  advancement  made  therein  makes  possible  an  equally  distinct 
advancement  in  the  art  of  painting.  To  a  greater  extent,  ])crhap>,  than 
any  other  class  of  painters,  the  carriage  and  wagon  painter  should  be  interested 
in  making  up  his  brush  equipment  of  tools  of  the  best  quality.  The  brush 
made  of  reliable  stock,  having  the  proper  "hang"  and  i)oinl,  and  which 
balances  like  a  "thoroughbred,"  is  an  economical  t<Jol  to  buy,  regardless  of 
the  price.  The  vehicle  painter  requires  a  brush  made  scientifically,  by  the 
outlay  of  honest  workmanship,  and  of  material  that  is  wholly  above  sns- 
])ici(jn.  A  brush  that  has  simply  the  price  to  reconnnend  it  is  usually  an 
unreliable  article  and  worketh  evil,  like  a  thief  in  the  night,  unexpectedly. 
In  making  chf)ice  of  a  brush  for  putting  on  priming,  lead,  and  roughstuff, 
and  for  such  other  features  of  general  use  as  require  a  round  or  oval  bristle 
brush,  the  painter  may  properly  look  at  the  filling  of  the  tool.  Deception, 
if  practiced  at  all,  is  usually  placed  where  it  shows  the  lea.st.  The  first-class 
brush  is  distinctively  the  brush  that  shows  good  quality — uniform  quality — 

from  center  to  outside.  Other  things 
being  equal,  the  brush  that  is  made 
up  uniformly  as  to  its  bristle  ecjuip- 
ment  will  develop  a  good  point,  and 
all  carriage  painters  are  alive  to  the 
importance  (jf  this  virtue  in  botli  j)aint 
and  varnish  brushes. 

Much  of  the  usefulness  of  a  brush 
depends  u|)on  the  manner  of  caring  U>v 
it  when  it  comes  into  the  paint  shop. 
The  bristle  brushes  u.sed  for  priming, 
lead,  and  roughstuff  retpiire  bridling 
until  worn  down  .somewhat.  There 
are  many  patent  brush  bridles  now 
prcx'urable  at  a  nominal  cost  which 
tend    to   give   a    brush    much    better 


Fig- A 


10 


I'liACTJCAL   CAIililAGE  AXIJ  WAGON  PAINTING. 


shape  than  the  shop-made  bridle.  If  these  are  not  at  hand,  the  painter  can 
take  "tufting  cord"  (our  friends,  the  carriage  trimmers,  keep  it)  and  wind 
the  brush  securely'  but  not  too  tightly;  or  he  can  take  a  piece  of  light  weight 
rubber  cloth  and,  extending  the  piece  well  down  on  the  handle,  tie  it  at  the 


Fig.  2. 

proper  distance  around  the  bristles.  The  rubber  side  of  the  piece  should  be 
fastened  next  the  bristles.  Then,  from  where  it  is  tied  around  the  bristles, 
fold  the  piece  back  onto  the  handle  and  tie  securely.  Trim  off,  and  a  bridle 
is  furnished  that  is  perfectly  water-and  paint-proof,  the  cloth  side  of  the 
rubber  being  folded  inside.  For  a  shop-made  bridle  the  writer  finds  this  a 
ser\'iceable  one.  After  bridling,  drop  a  little  oil  paint  into  the  heel  of  the 
brush  and  set  it  away  in  a  dustproof  compartment  for  a  few  days.  Then 
use  the  brush  for  a  time  in  oil  paint,  suspending  the  brush  v/hen  not  in  use 
in  raw  linseed  oil.  In  the  course  of  two  or  three  days 
the  brush  may  be  put  into  other  paint  if  desired  and 
suspended  in  water.  Suspend  the  brush  just  up  to 
the  butts  of  the  bristles,  or  so  they  are  just  covered, 
and  invariably  keep  the  water  up  to  that  point. 
Under  no  circumstances  permit  a  brush  to  rest  upon  its 
point  when  not  in  use.  It  destroys  the  form  of  the 
tool  and  le.s.sens  its  spring  and  elasticity.  The  bristle 
paint  brushes  require  a  clean  storage  quite  to  the 
extent  that  the  color  or  varnish  brushes  do.  There- 
fore, the  receptacle  in  which  they  are  kept  should  be 
fitted  with  a  cover  and  should  be  tight  enough  to  keep 
out  all  forms  of  dirt.  A  common  tobacco  pail  pro- 
cured of  the  local  grocery,  painted  inside  and  out, 
FiG.  3.  fitted  with  a  cover,  and  having  nails  driven  at  certain 


PRACTICAL  C^UililAUE  AND   WAdON  I' A I  STING. 


li 


Complete  Set  of  Finishing  (Flowing)  Brushes. 


Camel-Hair  Flowing  Brush. 


t  '■  I  \'ii    I  )i  >Ti:i; 


12 


PRACTICAL  CAIiIilA(;E  AM)   UACOy  J'AIXTiyG. 


distances  apart  all  around   it,  one-third  of    the  way  down  from   the  top,  on 

which  the  brushes  may  be  suspended,  makes  a  cheap  and  excellent   keeper 

for  the  ordinary  paint  brushes. 

Camel's  hair  color  brtishes  may  well  have  a  little 
paint,  one-half  oil  and  one-half  turpentine,  dropped 
into  the  heels  of  them.  These  brushes,  used  in  japan 
ground  colors,  need  to  be  kept  suspended  in  water. 
Change  the  water  frequently  and  make  sure  that  it  is 
clean.  A  brush  keeper  such  as  is  recommended  for 
varnish  brushes  is  one  of  the  best  possible  keepers  for 
color  brushes.  It  insures  cleanliness.  And  vehicle 
painting  without  cleanliness  is  like  unto  a  landscape 
painting  with  the  beauties  of  nature  left  out.  The 
brushes  kept  in  water  do  better  in  rain  water  than  in 
hard  water.  During  the  cold  months,  especially  in 
shops  where  freezing  is  liable  to  occur,  it  is  advisable 
to  add  a  little  glycerine  to  the  water.  The  glycerine 
delays  the  freezing  point  and  does  not  injure  the 
brushes.  Never  soak  a  brush  in  water  before  using  it 
in  paint.  Animal  fat  circulates  in  the  capillary  tubes 
of  all  bristles  and  hair,  and  if  water 
is  .soaked  into  these  arteries,  the 
spring  and  elasticity  of  the  brush  is 
not  only  destroyed,  but  it  speedily 

becomes  a  very  much  water-logged  tool.      To  swell  up  a 

brush  which   for  some  cause  has  become  dried  out    and 

shrunken,  part  the  bristles  j-o  that  the  end  of  the  handle 

is  exposed,  and  pour  in  a  .small  quantity  of  water,  .say 

three  or  four  teaspoonfuls.     Then  stand  it  away,  bri.stles 

up,  handle  down,  for  two  or  three  hours  and  the  brush  will 

have  returned  to  its  normal  condition.     If  a  brush  handle 

gets  smeared  with  paint  or  varnish,  a  wire  scrub  brush 

dipped  in  a  solution  of  sal  .soda  will  clean  off  the  sticky 

substance  in  .short  order.     To  test  the  bristles  in  a  brush, 

remove  .some  of  them  and  submit  them  to  a  smart  flame. 

Bristles,  the  real  animal  product,  will  curl  and  writhe  and 

emit  a  peculiar  odor.    Noknown  adulterant  burns  this  way. 
A  brush    that  has  been  allowed  through  accident  or 

neglect   to  get  "soggy"  may   be  limbered   up  nicely  by 

soaking  in   heated   turpentine.     Hardened  brushes  may 

often  be  .softened   into  workable  condition  again  by  soak- 
ing the  bristles  in    hot    linseed  oil.     A  .simple  .soaking  in  turps  or  benzine 

will  .sometimes  effect  the  needed  softening  up.      Brushes,  however,  that  have 

dried  up,  saturated  with  quick  drying  colors  or  paint,  can  at  best  never  he 


Chiseled  Paint 
Brush. 


RoiNl)   ]  'AIN'T 

IJiiCsn. 


rilACJ'lCAL    CAinUMiE  A.\I>    ^^M^■O.V   /M/.V77.NV,'. 


i:} 


Camkl-Hair  Col- 
OK  Brush. 


restored  to  a  first-class  working  condition.  The  best  form 
of  economy,  therefore,  is  to  tlirow  snch  brushes  away. 
Kemedies  in  impressive  array  have  been  marshalled  where- 
with to  restore  varnish  brushes  that  have  become  lousy, 
i)ut  the  vehicle  finisher  recognizes  no  reliable  or  econom- 
ical remedy  for  the  purpose  named.  A  dirty  varni.sh 
brush  can  be  cleaned  by  wa.shing  in  oil  first,  then  in 
turps,  and  lastly  worked  in  for  putting  on  first  rubbing 
coats,  and  thus  gradually  brought  back  to  its  original 
cleanliness.  But  the  varni.sh  brush  once  lousy,  look  yoii! 
always  lous)'.     Better 

"To  th(^  tire  1  now  coiisitrti  Ihi-f, 
Peace  unto  thine  ii.shes  l)e.  " 

When  a  varni.sh    brush   is  accidentally  dropped  on    the 

floor  while  being  used,  pick 
it  up  carefully  and,  holding 
it  at  an  acute  angle,  bristles 
down,  pour  a  small  quan- 
thus  floodino;   the  accumu- 


Oval  Chiseled  Var- 
nish  Brush. 


tity  of   turpentine  over  it, 
lated  dirt  completel}^  off. 

There  is  a  considerable 
the  best  preserving  liquid 
nish  brushes.  Local  needs 
ably  the  safest  guides  in  the 
ing  liquids  for  varnish 
are  used  daily,  as  they  are 
good  way  to  keep  them  in 
every  morning  before  be- 
ginning work,  the  brushes 
may  be  rinsed  out  in  tur- 
pentine, wiped  out  clearly 
over  the  edge  of  the  cup,  and  an  elastic  brush  full  of  life 
is  assured. 

Brushes  used  daily  upon  clean  surfaces  are,  or  should 
be,  clean,  and  rinsing  in  turpentine  can  do  no  harm  to  a 
clean  brush.  But  in  the  case  of  brushes  used  every  tw^o 
or  three  days  or  occasionally,  different  treatment  is 
needed.  Such  brushes  are  liable  to  be  used  upon  sur- 
faces and  amid  surroundings  less  cleanly  than  tho.se  which 
obtain  in  the  fine  factory  or  custom  .shop,  and  the  rinsing 
in  turps,  consequent  upon  preserving  them  in  oil,  would 
merely  serve  to  loosen  and  .set  in  motion  the  dirt  and 
flocculent  matter  gradually  collected  and  forced  up  into 


diversity  of  opinion  as  to 
in  which  to  keep  the  var- 
and  requirements  are  prob- 
matter  of  choosing  preserv- 
brushes.  When  the  brushes 
in  big  shops,  it  is  a  very 
raw    linseed    oil.       Then, 


Badgek-Hair 


the  body  of  the  tools.     For  this  rea.son  it  were  better  to  Flowing  Brush. 


14 


rUACTlCAL   CAURlMiE  AM)    WAdO^  PAINTING. 


\ 


keep  Iheni  in  finishing  varnish  or,  preferably,  brush  keeping  varnish,  i.  e., 
varnish  minus  its  driers.  Whatever  the  preservative,  the  brushes  require 
the  most  watchful  attention.      If  kept  in  finishing  varni.sh,  the  liquid  should 

^ be  changed    frequently.     So  delicate    a    tool,   of 

which  so  much    is   expected,  makes    imperative 
V       ;  r  /       the    observance   of     gentle,    cleanly    treatment. 

\^arni.sh  brushes  ought  never  to  be  left  lying 
around  for  any  considerable  length  of  time  when 
not  in  use.  Dust  is  never  idle,  but  always  mov- 
ing and,  like  the  dew  of  the  evening,  it  falleth 
upon  the  just  and  the  unjust,  varnish  brushes 
included.  Have  a  stiff,  partly-worn  brush  to 
clean  the  handles  of  varnish  brushes.  Wiping 
them  with  cloth  distributes  lint. 

In  Fig.  1  is  shown  a  double  compartment 
brush  keeper.  It  can  be  made  of  tin  or  zinc  and 
is  not  expensive.  Attach  lock  and  key  to  it,  and 
the  brushes  conditioned  to  a  peerless  trim  are 
secure.  Make  the  keeper  S  in.  long,  o  in.  wide, 
9  in.  deep;  outfit  with  spring  fasteners,  run  wires 
through  3  in.  from  top,  and  ^  in.  from  bottom 
of  the  can  locate  a  rack  made  of 
small  wires  criss-crossed  on  a 
light  wire  frame.  The  dirt 
which  collects  in  the  keeper  goes  to  the  bottom  beneath  the 
gauze  rack,  and  should  a  brush  fall  into  the  preserving 
liquid  it  is  held  aloof  from  the  dirt  accumulations.  These 
are  regulation  brush  keepers,  clean,  durable,  and  ccst  in  the 
neighborhood  of  $1.  Fig.  2  represents  the  famous  thirty- 
cent  brush  keeper,  several  times  illustrated  but  still  deserving 
a  place  here.  It  is  claimed  to  be  made  upon  scientific  prin- 
ciples, namely,  the  break  between  the  body  of  the  keeper 
and  its  lid  or  cover  occurs  at  the  bottom  and  below  the 
point  of  brush  suspension,  instead,  as  in  the  ordinary- 
keeper,  at  the  top  and  above  the  point  of  suspension.  It 
can  be  made  of  any  size  to  meet  individual  needs.  Such  a 
can  affords  a  splendid  keeper  for  camel's-hair  color  bru.shes 
and  for  color-and-varnish  brushes.  Fig.  8  displays  what 
has  been  somewhat  widely  heralded  as  the  western  idea  of  a 
brush  keeper,  although  the  gentleman  who  first  published  a 
cut  of  the  keeper  and  who,  I  believe,  was  the  inventor  of  it, 
has  seldom,  if  ever,  been  given  credit  for  his  ingenuity.  My  veteran  brother 
of  the  V^ru.sh,  Mr.  V.  B.  Grinnell,  is  deserving  of  the  thanks  of  the  trade  for 
his  invention.     It  consi.sts  of  an  ordinary  glass  fruit  can  (a  metal  top  with 


Spoke  Brush. 


Chiseled 
FiTc^H    Tool. 


PRACTICAL  CARRIAGE  AND  WAGON  I'M  MING. 


rubber  attachment  is  best),  in  which  is  located  a  tin  cup, 
having  a  heavy  wire  soldered  to  it  and  projecting  up  to 
near  the  top  of  the  can.  This  allows  the  cup  to  be  easily 
removed  from  the  top  of  the  can.  A  second  wire  is  soldered 
onto  the  first  one  so  that  it  projects  out  horizontally  over  the 
cup,  allowing  for  the  suspension  of  the  brushes  in  the  liquid 
contained  in  the  cup.  The  illustration  shows  how  the  keeper 
is  made  completely.  Two  or  three  brushes  may  be  kept  in 
each  can,  and  they  may  be  kept  air-tight,  too,  a  matter  of 
moment  to  the  vehicle  painter. 

The  vehicle  painter's  brush  equipment  should  consist  of 
a  good  assortment  of  round  or  oval  bristle  brushes  for  put- 
ting on  priming,  lead,  and  roughstufif.  For  the  best  grade  of 
carriage  painting,  the  chiseled  brush  is  advised  for  the  prim- 
ing and  lead  coats.  In  size  they  should  run  about  4-0.  For 
working  upon  large  surfaces,  however,  larger  brushes  will  be 
needed,  hence  any  exact  size  cannot  be  advised  to  meet  all 
ca.ses.  Spoke  brushes,  dusters  in  plenty,  flat  chi.seled  bristle 
paint  bru.slies,  extra  thick  camel' s-hair  color  brushes,  varying 
in  size  from  1  in.  to  3  in.,  camel's-hair  flowing  brushes,  \)4    Pear     Flow- 

to  2 '4   in.  in   size,  for   applying  color- and-varnish  of  some   i^g    Varnish 

Brush 
kinds,  chiseled  badger  hair  brushes,  double  thick,  1  in.  to  2 

in.  for  varnishing  gears,  oval  chiseled  sash  tools  for  cleaning  up  surfaces 

and  painting  when  needed  certain  parts  of  a  vehicle,  chiseled  fitch  tools  for 

cleaning  up  panels,  and  lastly  not  less  than  four  sets  of  varnish  brushes  for 

varnishing  vehicle  body  .surfaces,   along  with  some  oval  or  round  chiseled 

varnish  brushes  required  especially  in  wagon  painting. 

The  painter  needs  a  set  of  at  least  three  bru.shes,  1  in.,  \yi  in.,  and  2^ 
in,  in  size,  for  varnishing  the  inside  surfaces  of  bodies,  the.se  to  be  used  for 
no  other  purpose.  Then,  properly,  he  should  have  a  set  of  brushes  for 
putting  on  first  rubbing  varnish  coats,  consisting  of  a  1-inch  chiseled  badger 
hair  brush,  and  a  2)4  in.  and  one  3-in.  bristle  brush.  Then  another  set  of 
the  same  number  for  the  remaining  rubbing  coats. 

The  finishing  kit  of  brushes  may  properly  consist  of  five  chiseled  half 
elastic  flowing  brushes,  as  follows:  One  1-in.  ,  one  li^-inch,  one  2-in.,  one 
2)^-in.,  one  3-in.  Some  finishers  prefer  a  1-in,  badger  hair  brush  for 
flowing  the  edges  of  the  panels,  but  the  set  of  flowing  brushes  herewith 
illustrated  answers  every  purpose  full)'  and  completely.  The  art  of  fine 
brush  making  has  so  far  advanced  within  recent  j^ears  that  it  is  now  po-ssible 
to  get  varnish   brushes  which  require  but  very  little  working  in  varnish  to 

prepare  them  for  flowing 

sJ      on    the    finishing   coats. 

To  clean  a  new  var- 

Long-Handled  Spoke  Brush.  nish    brush   preparatory 


Ki 


PRACTICAL  CARRIAGE  AM)  WAGON  PAIXTING. 


to  using  it  as  a  finishing  brush,  first  draw  the  stock  of  the 
tool  through  the  fingers,  continuing  this  operation  until  the 
loose  dirt  is  quite  fully  worked  out.  Then 
repeatedl}^  submerge  it  in  clean  linseed  oil 
and  wipe  out  over  the  edge  of  a  cup,  after 
which  use  it  for  a  week  or  two  in  rubbin;'^ 
varnish.  The  brush  may  then  safely  be  used 
for  applying  finishing  coats  of  varnish. 

All  brushes  not  specially  mentioned  in  the 
foregoing  as  round  or  oval  brushes  are  as- 
sumed to  be  flat,  this  style  of  brush  being 
the  one  chiefly  employed  in  vehicle  painting. 
In  the  matter  of  camel's-hair,  badger  hair, 
and  flowing  varnish  brushes,  the  painter  de- 
sires said  brushes  to  be  tough,  durable  fibre, 
having  soft  ends,  elastic,  and  which  wear  soft 
until  worn  out. 

In  selecting  the  brush  equipment,  it  is  a  nlost  happy 
mental  exercise  to  remember  that  the  highest  type  of  brush, 
if  not  mightier  than  the  sword,  at  least  hath  its  victories.        jj^q  Vaknish 

The  numerous  accompanj'ing  excellent  illustrations  of         Brush. 
brushes  specially  adapted  to  the  needs  of   the  carriage  and 
wagon  painter  are  the  result  of  valuable  and  courteoush  exteneded  assistance 
tendered  by  that  celebrated  brush  making  firm,  John  I^.  Whiting  and  Son 
Co.,  Boston,  Mass. 


Oval.  Chis- 
eled Sash 
Tool. 


CHAPTER  III. 

PRIMING- LEAD  COATS— RUB  LEAD-  KNIFING  LEAD— PUTTY  AND  PUTTY- 
ING SANDPAPERING  ROUGHSTUFF,  APPLYING  AND  RUBBING  IT - 
MATERIALS    USED    IN   FOUNDATION  COATS -MIXING  FORMULAS,  ETC. 

FINK  and  durable  carriage  and  wagon  pointing  cannot  be  accomplished 
upon  foundations  in  anywise  weak  or  unstable.  The  supreme  aim 
of  the  painter,  then,  should  be  to  begin  at  the  base  of  the  foundation 
and,  with  patient  toil  and  skill,  aided  by  materials  of  recognized  value, 
bring  up  a  surface  of  uniform  excellence  and  quality. 

MATERIALS. 

White  lead  and  raw  linseed  oil;  an  invincible  combination  in  the  old 
days — shall  we  not  say  invincible  still?  Assuredly,  nothing  surpasses  it 
today  when  conditions  are  favorable  to  its  proper  treatment;  nothing  upon 
the  horizon  of  coming  events  bids  fair  to  surpass  it.  It  is  only  when  the 
limitations  of  time  intervene,  when  we  must  perforce  bow  down  and  wor.ship 
the  great  American  idol,  Hurry,  that  the  sinewy  strength  and  permanency 
of  white  lead,  hnseed  oil,  and  the  few  other  constituents  which  enter  into 
the  foundation  coats,  are  seriou.sly  shattered. 

White  lead,  for  example,  must  of  necessity  figure  as  an  elemental  part 
of  the  lead  coats,  if  not  of  the  priming,  of  putty,  and  of  roughstufF.  It  is 
not  now  impossible  to  find  primers  being  used  entirely  devoid  of  lead,  but 
the  burden  of  proof  remains  favorable  to  the  excellence  of  lead.  A  pigment 
filler  is  quite  as  necessary  as  a  liquid  one.  And  pure  white  lead,  Dutch 
process,  if  it  please  my  readers — observe  its  properties  in  this  respect:  It  is 
of  great  densit_v,  body,  permanent  to  a  rare  degree,  of  impalpable  smooth- 
ness when  properly  ground,  and  chemically  unites  with  oil,  forming  a  kind 
of  varnish,  which  makes  it  a  filler  and  pore  sealer  of  great  value.  In 
addition,  it  absorbs  more  oil,  solidifies  it,  and  remains  elastic  for  a  greater 
length  of  time,  except  red  lead  perhaps,  than  any  other  pigment  so  far 
discovered.  Moreover,  it  mixes  happily  with  all  other  pigments  which  do 
not  contain  a  sulphur  ingredient.  Briefly,  these  are  the  properties  which 
recommend  it  to  the  carriage  painter.  Its  noble  running  mate,  raw  linseed 
oil — what  of  it  as  a  paint  oil?  Its  chief  virtue  lies  in  the  fact  that  when 
exposed  to  the  air  it  graduall}',  in  drying,  absorbs  a  large  proportion  of 
oxygen,  which,  it  is  declared  by  Hurst,  "forms  a  new  compound  of  a 
resinous  character,"  remarkably  elastic  and  stable. 


18  rUACTlCAL  CAIiRlAGE  AXn  WAGOX  PAINTING. 

Since  the  failure  of  the  P.  W.  F. 's  and  various  other  substitutes  for  the 
historic  lead  and  oil  surfacing  agents,  to  meet  the  exacting  needs  of  the 
trade,  the  swift  processes  now  practiced  have  pressed  into  service  time 
quickening  aids  which,  in  a  work  of  this  kind,  it  would  scarcely  seem  fit  to 
omit. 

Many  painters  have  adopted  yellow  ochre  as  a  main  ingredient  for 
priming,  and  in  particularly  hurried  instances,  or,  in  fact,  in  the  priming  of 
a  certain  grade  of  regular  factory  work,  varnish  and,  to  some  extent, 
turpentine  are  used.  Ochre  of  good  quality,  finely  ground  (a  coarse  ground 
ochre  is  worthless  in  carriage  painting),  and  containing  a  strong  percentage 
of  silica,  is  a  valuable  component  of  priming.  Silica  is  an  acknowledged 
pore  filler,  and  in  many  of  the  wood  fillers  heralded  along  the  highway  of 
commerce  it  is  the  p/crc  dc  ,-esisiancc.  A  high  grade  ochre  is  a  good  drying 
and  a  very  permanent  pigment.  It  is  a  first-class  surfacing  material  and  not 
easily  affected  by  atmospheric  or  other  impurities.  Thus  we  have  the 
ingredients  which,  properly  combined  and  manipulated,  form  the  basis  of  all 
beautiful  and  durable  carriage  painting  as  guaged  according  to  present  day 
standards.  Let  us  now  consider  the  separate  parts  of  the  foundation 
building. 

PRIMING. 

Priming  is  the  agent  required  to  go  into  and  saturate  the  minute  cells 
and  pores  of  the  wood,  getting  a  firm  grip  of  the  fibers,  sealing  them 
against  moisture,  and  affording  the  painter  a  tough,  elastic  ground  for  his 
leveling  materials  to  follow. 

Primer  No.  1. — White  lead  and  raw  linseed  oil,  darkened  to  a  leaa  coior 
with  lampblack.  A  teaspoonful  of  coach  japan  to  be  added  to  each  pint  of 
the  mixture,  or  omitted,  as  the  time  limit  may  impose. 

No.  2. — White  lead,  2  parts;  yellow  ochre,  1  part.  I^iquid,  raw  linseed 
oil.     The  use  of  japan  to  depend  upon  circumstances. 

No.  3. — White  lead,  1  part;  yellow  ochre,  2  parts.    Liquid,  raw  linseed  oil. 

No.  4. -White  lead,  1  part;  yellow  ochre,  2  parts.  Liquids,  rubbing 
varnish  }{\  turpentine  ^;  raw  linseed  oil  >^.  A  tablespoonful  of  japan  to 
each  quart  of  the  mixture.  This  is  a  very  quick  primer,  that  can  be  sand- 
papered the  day  following  its  application. 

No.  5. — White  lead,  shaded  witli  lampblack.  Liquids,  rubbing  varnish 
1  part;  raw  linseed  oil  5  parts. 

In  the  above  formulas  keg  lead  is  referred  to. 

Priming  should  contain  just  enough  pigment  to  stain  the  oil.  Only  in 
this  form  does  it  perform  the  functions  of  a  primer.  Some  hardwood 
surfaces,  negative  in  composition,  require  a  priming  thinned  somewhat  with 
turpentine;  otherwise  such  close  textured  spaces  of  wood  are  not  sufficiently 
penetrated  by  the  oily  particles  of  the  priming.  The  durability  of  the 
priming  rests  largely  upon  the  penetration  of  the  oil  into  the  arteries  of  the 
wood  along  with  a  certain  necessary  per  cent,  of  the  ])igment. 


PRACTJCAL   CMtUIAdh:  AM)    \\A<i<).\   I'AIX'J'lXd. 


19 


It  is  a  good  plan  not  to  follow  the  surfacing  of  a  job  in  the  wood  shop 
too  closely  with  the  priming.  Immoderate  pressure  of  the  wood  fibres 
usually  results  from  the  pressure  of  the  w^ood  worker's  leveling  methods. 
Give  the  w'ood  time  to  expand  before  priming,  but  not  time  to  absorb 
moisture.  Graining  out  of  surfaces  often  results  from  priming  a  surface  too 
soon  as  well  as  too  late.  Manj-  factors  must  necessarily  be  considered  in 
order  to  have  the  priming  coat  do  all  that  it  should  do.  The  condition  of 
the  wood,  the  climate,  season,  atmosphere,  etc.,  all  require  diligent  study. 
The  application  of  the  priming  to  the  surface  de.serves  particular  attention. 
Granted  that  first-class  filling  and  surfacing  pigments,  combined  with  liquids 
rich  in  gummy  resinous  matters,  make  the  ideal  primer,  the  coating  fails  of 
its  mission  when  practices  of   neglect  mark   its  application  to  the  surface. 

Therefore,  apply  the  priming  smoothly  and 
in  a  uniform  film  to  the  surface.  Coat  all 
parts  of  a  job,  outside,  top,  bottom — every- 
where. Insist  upon  its  being  well  brushed 
out — just  as  any  coat  of  paint  should  be. 
THE  LEAD  COATS. 
What  we  shall  be  pleased  to  term  "first 
lead"  was  formerly  made  of  white  (keg)  lead 
thinned  to  a  brushing  consistency  with  lin- 
seed oil  and  turpentine,  half  and  half.  That 
was  at  a  time  when  egg-shell  gloss  coats 
were  in  demand.  A  different  principle  has 
been  established  of  late  years  in  reference  to 
the  composition  of  the  lead  coats,  and  the 
egg-shell  gloss  is  now  regarded  with  suspi- 
cion and,  to  a  large  extent,  abandoned 
altogether. 

Consequently,    the   first   lead   should    be 

mixed  of   ^8  oil  to  ^s  turps,  or  even  with  a 

still  smaller  percentage  of  oil  if  the  limitations  of  time  so  direct.     Apply 

this  lead  with  a  bristle  brush  and  enforce  rigidly  the  rule  of  smoothness  and 

sleek  brushing  out. 

"Second  lead"  means  in  modern  paint  shop  lingo  "flat  lead" — a  lead 
that  dries  to  a  dull,  lustreless  appearance,  practically  "dead  lead."  It  is 
composed  of  white  lead,  thinned  to  a  working  consistency  with  turpentine, 
and  given  a  binder  of  oil  to  the  extent  of,  say  ;.;  of  a  tablespoonful  of  oil  to 
a  pint  of  the  lead.  These  lead  coats  should  properly  contain  1  teaspoonful 
of  japan  to  a  pint  of  the  lead,  and  be  .shaded  with  lampblack.  The  flat,  or 
dead,  lead  is  best  applied  with  acamel's-hair  brush. 

RUB  LEAD. 
In  connection  with  these  lead  coats  attention  must  be  directed    to  the 
rub  lead  process  as  a  part  of  the  system  of  lead  surfacing  now  practiced  in 


Putty-Holder. 


20  PRACTICAL   CAliRlAGE  AND   JJVUrO.V  PAIXTIXG. 

the  leading  shops  of  the  country.  The  rub  lead  is  usually  used  directly 
upon  the  priming  coat.  There  are  several  formulas  in  circulation  for  the 
mixing  of  the  lead,  but  the  writer  thinks  the  one  here  given  (used  in  the 
leading  factor}-  paint  shops)  covers  the  painter's  practical  needs  fully.  Mix 
dry  white  lead  to  a  grinding  consistency  in  ^  raw  linseed  oil  to  }{  japan, 
the  liquids  to  be  carefully  measured.  Add  enough  lampblack  to  give  the 
mixture  a  clean  slate  color,  then  run  through  the  paint  mill,  after  which 
reduce  to  a  brushing  consistency  with  the  proper  proportions  of  oil  and 
japan.  Make  the  lead  just  stiff  enough  to  brush  on  with  a  fairly  stiff  bristle 
brush.  Apply  to  the  surface  and,  after  permitting  the  mixture  to  take  ©n  a 
"tack"  for  a  quarter  of  an  hour  or  more  as  the  drying  conditions  of  the 
apartment  may  be  favorable  or  otherwise,  proceed  to  rub  the  lead  into  the 
surface  with  the  palm  of  the  hand.  For  getting  a  fine,  velvety,  and  very 
dense  surface  of  pigment,  the  rub  lead  system  has  no  rival.  However,  it 
cannot  be  worked  over  and  re-coated  .so  soon  after  being  applied  (it  should 
be  given  48  hours  in  which  to  dry)  as  can  the  knifing  lead.     This 

KNIFING  LEAD, 
or  "glazing  lead,"  or  "draw  putty,"  as  it  is  variously  and    locally  known, 
renders  it  possible  to  quickly  fill  and  level  up  a  surface,  making  it  compact 
an^  solid  as  to  texture. 

Knifing  lead.  No.  1. — Dry  white  lead  -i;  keg  lead  ji.  I^iquids,  rub- 
bing varnish  and  japan,  thinning  to  the  exact  working  consistency  with  a 
little  turps. 

No.  2. — Dry  white  lead,  mixed  in  equal  parts  of  rubbing  varnish  and 
japan. 

No.  3. — Dry  white  lead  ^;  keg  lead  }(;  roughstuff  filler  (finely  ground) 
}i.  Liquids,  rubbing  varnish  j4;  japan  }{;  turpentine  ^.  This  last  for 
large  panels. 

These  leads  should  all  be  colored  slightly  in  the  direction  of  the  final 
color  to  be  used  upon  the  work.  Carriage  and  wagon  painters  use  knifing 
lead  on  running  parts  very  largely,  and  especially  upon  work  that  must  be 
gotten  out  quicker  than  the  rub  lead  would  permit.  On  the  panels  of 
business  wagons  of  the  medium  grade,  knifing  lead  is  used  to  the  exclusion 
of  roughstuff.  On  such  panels  it  is  advisable  to  apply  the  lead  with  a 
bristle  brush,  applying  the  lead  to  the  surface  a  little  heavier  in  body  than 
ordinary  paint,  and  then  shortly  going  over  it  with  a  broad  blade  putty 
knife,  pressing  the  pigment  into  the  wood  and  removing  the  surplus. 

Knifing  lead  deserves  to  be  used  and  applied  with  circumspect  care  and 
skill  if  the  best  and  most  durable  results  would  be  achiev^ed.  It  demands  a 
firm  pressing  into  the  cellular  fabric  of  the  wood,  accompanied  by  a  clean, 
tidy  removal  of  all  the  pigment  not  actually  necessary  to  the  full  and 
complete  development  of  the  surface.  But  little  sandpapering  should  be 
needed  to  fit  it  for  any  of  the  succeeding  coats  of  material. 

In  the  painting  of  running  parts  of   the  best  grade,  when  rub   lead  or 


PRACTICAL  CAinilA(;h:  AM)   \VA(;<}S  I'M  Ml  m;. 


21 


Spatula. 


knifing  lead  is  employed,  the  second  lead,  previously  designated  as  "flat"  or 
"dead"  lead,  should  be  employed  over  the  rub  or  knifing  Itad,  the  puttying 
of  the  deep  cavities  and  indentations  being  done  directly  upon  said  rub  or 

knifing  leads. 

PUTTY     MAKING  AND  USING  IT. 

« 

Putty  No.  1. — The  putty  of  history — past,  pre.sent,  and  shall  we  say  ot 

the  future? — so  far 
as  history  applies 
to  carriage  paint- 
ing, is  this  putty 
No.  1.     Dry  white 

lead,  japan  and  rubbing  varnish,  the  liquids  of  equal  proportions.  Probably 
the  best  known  putty  in  the  jobbing  carriage  paint  shop  today. 

No.  2. — Dry  white  lead  ^;  keg  lead  %.  Rubbing  varni.sh  and  japan, 
half  and  half. 

No.  3. — Keg  lead,  4  parts;  dry  white  lead  1  part.  Rubbing  varnish 
and  gold  size  japan,  equal  parts. 

No.  4,  a  putty  for  white  work. — Dry  white  lead  y^;  pulverized  steatite 
or  soapstone  % ;  dr}^  oxide  of  zinc  }i ;  dry  silica  }i .  Liquids,  very  pale 
rubbing  varnish  ^;  light  (in  color)  japan  ^s;  turpentine  yi. 

No.  5. — Dry  white  lead  ;;;  keg  lead  Yz.  Rubbing  varnish  and  japan, 
equal  proportions.  Into  this  mix  the  woof  or  fine  pickings  of  velvet  or 
plush.     This  is  especially  intended  to  be  used  around  glass  in  heavy  vehicles. 

No.  6. — This  is  a  putty  to  be  used  on  old  work  having  rough  cavities, 
splintery  crevices,  and  the  like.  It  cannot  be  sandpapered,  but  will  dry 
tough,  neither  chipping  nor  flaking.  Keg  lead  1  part;  whiting  2  parts. 
Mix  stiff"  in  thick  varnish  and  raw  linseed  oil,  equal  parts;  then  thicken  up 
to  the  right  consistence  with  dry  white  lead. 

No.  7. — For  shallow  cavities  requiring  a  filling  that  dries  quick  and 
hard.  Dry  lead  3  parts;  plaster  of  paris  1  part.  Ivqual  parts  of  quick 
rubbing  varnish  and  japan. 

No.  8. — Deep  hole  putty.       Whiting  mixed  with    raw  lin.seed  oil  and 
japan,  equal  parts.      Then  into  this  mixture  mix  plush  woof.     Drive  a  small 
head  tack  or  two 
in  bottom  of   hole 


SgrAKK    I'OIXT    I'l'TTV    KXIFK. 


and    then  fill    in 

nearly   level  with 

the  surface  with 

this  putty.     Slash 

a  couple  of  openings  into  it  with  putty  knife  to  (juicken  the  drying,  and 

then  in  due  time  level  up  with  regular  putty. 

No.  9. — Expansive  .shallow  dents  in  a  carriage  surface  require  a  peculiar 
kind  of  putty  or  cement.  Finely  ground  pumice  stone  3  parts;  dry  lead  1 
part.      Mix  to  a  working  condition  in  thick  glue.     Apply  the  putty  .so  that 


22  riiArllCAL   LAltRlAdE  AM)    \VA(;(JX  PAINTING. 

it  will  show  some  above  the  surface.  After  10  hours  rub  down  with  lump 
pumice  stone  and  raw  linseed  oil. 

No.  10. — Here  is  a  putty  that  will  stick  and  at  the  same  time  sandpaper 
nicely.  Shade  dry  lead  with  a  little  lampblack,  and  mix  with  ^  coach 
japan  and  }i  rubbing  varnish,  along  with  a  dash  of  turpentine. 

The  carriage  painter  will  do  well  to  use  sparingly  of  whiting — even 
gilder's  whiting — in  making  a  putty  intended  for  use  upon  fine  surfaces. 
Whiting,  or,  in  the  speech  of  the  chemist,  carbonate  of  calcium,  is  a  hard 
drying,  tenacious,  stout  sticking  pigment,  but  possesses  the  ever  present 
property  of  granulating  and  working  coarse  and  gritty  under  the  putty 
knife. 

When  coloring  matter  is  added  to  putty,  be  governed  by  what  the  final 
color  of  the  job  is  to  be.  Hammer  putty  well  on  the  mixing  block  to  make 
it  tough  and  elastic.  Do  this  at  the  time  of  making  it  and  before  use  in 
order  to  expel  the  accumulated  moisture.  Make  it  in  sufficient  quantity  to 
last  for  some  time.  Keep  the  putty  in  water  in  a  dust  proof  holder — an  air 
tight  one  is  better.     See  putty-holder  illustrated  herewith. 

The  way  in  which  putty  is  applied  has  largely  to  do  with  making  it 
serve  the  surface  good  or  ill.  Good  puttying  is  not  accomplished  by  nimble 
feats  of  jugglery.  The  putty  knife  demands  to  be  skillfully  handled  and 
wisely  directed.  Putty,  in  the  economy  of  carriage  painting,  is  quite  as 
indispensable  as  paint  or  varnish.  In  point  of  fact,  each  is  dependent  upon 
the  other.  Just  enough  is  a  critical  point  in  deciding  how  much  and  how 
little  of  putty  a  surface  requires.  Here  are  four  rules  for  guidance  in  the 
art  of  puttying: 

1. — Never  putty  on  the  priming  coat. 

2. — Putty  all  work  as  smooth  as  possible.  It  is  economy  and  increases 
the  chance  for  producing  first-class  work. 

3. — Avoid,  always,  puttying  a  crevice,  depression,  or  cavity  in  the  wood, 
or  a  joint  between  two  pieces  of  wood,  that  is  subject  to  diverse  forms  of 
re.sistance.  The  wrenching  and  twisting  of  the  vehicle  will  loosen  the 
putty  and  eventually  eject  it. 

4. — In  puttying  over  nails,  plugs,  etc.,  press  the  pigment  firmly  into  the 
hole,  filling  just  level  with  the  surface,  and  carefully  slick  up  all  surplus 
putty. 

The  painter  will  need   for  general  puttying  purposes,  in  addition  to  a 

spatula  or  two  (which  see),  at  least  four  different  styles  of  putty  knife;    one 

large  or  wide  blade  knife,  a  two-inch   blade  say,  one  square  point   blade, 

ordinary  .size,  one  beveled  point,  and  one  oval  point.       Knives  of  different 

shapes  will  greatly  facilitate  the  labor  of  puttying,  which  at   best  is  often 

tedious. 

SANDPAPERING 

If  it  were  feasible,  sandpaper  would,  no  doubt,  be  voted  down  and  out 
of  the  paint  shop.     At  present,  however,  it  cannot  well  be  removed  from  the 


PRACTICAL  CAlililAdE  AM)   WACOX  /M/A'77A.',. 


Ii3 


Beveled  1\)int  ruTTV  Knike. 


system  of  carriage  surfacing.  The  task  of  sandpapering,  viewed  from  its 
rosiest  side,  is  toilsome,  dirt-inviting,  girt  up  by  a  waistband  of  unpleasant 
features,  but,  alas!  we  must  have  level  and  smooth  surfaces  if  we  would 
have  beautiful  ones,  and  sandpapering  affords  the  means  of  getting  them. 
It  is  one  of  the  aids — one  of   the  great  aids,  let  us  bear  in  mind— to  the 

admirable  surface 
effects  sought  for 
in  the  art  of  car- 
riage painting.  It 
cannot  be  slighted 
or  to  any  extent 
be  done  imperfectly  without  marring  the  appearance  or  subtracting  from  the 
durability  of  the  surface  when  finished. 

The  use  of  sandpaper  begins  before  even  the  priming  coat  has  taken  its 
position.  A  surface  well  sandpapered  ahead  of  the  priming  coat  saves  a 
great  deal  of  time  and  leaves  plenty  of  the  priming  film  on  the  surface 
where  it  is  needed.  No.  1  paper  is  the  proper  size  to  surface  the  priming 
coat,  if  the  surface  has  previously  been  well  smoothed.  The  No,  ^  will  do 
for  first  lead.  This  coat  requires  a  very  thorough  and  uniform  going  over, 
touching  completely  all  places  that  need  it,  touching  none  with  a  coarse 
hand,  and  never  laying  bare  a  flicker  of  wood  needing  a  full  depth  of 
protecting  pigment.  The  second  lead,  or  "dead  lead"  as  we  know  it,  should 
require  only  a  light  going  over  with  No.  0  paper,  this  to  be  followed  by 
polishing  with  curled  hair  or  fine  moss  used  by  trimmers. 

The  rub  lead  and  knifing  lead  coats  usually  respond  to  the  smoothing 
caress  of  No.  ^ ,  or  finer,  paper,  the  size  depending  upon  the  quality  of 
these  coats.  All  along  through  the  system  of  painting,  sandpaper  must 
needs  sound  its  smoothing  monotone,  but  particularly  upon  the  primary 
coats  does  the  painter  use  it  as  the  fulcrum  by  which,  among  other  aids,  he 
seeks  to  rear  his  paint  foundation  into  a  tower  of  strength. 

Mouldings,  clips,  bolt  heads,  difficult  places  to  work  up  to,  everywhere 
bespeak  the  same  thorough  touch  of  the  sandpaper.  There  are  many  sharp 
edges  about  a  vehicle  which  may  be  denuded  of  pigment  at  a  single  rasp  of 
the  paper.     Such  

^  ^  ^^-ssf-^fsr— -  ^^____ 

parts   require   a        >^_-    '-'^  -:— — -^"V^: " ■^■«'K**A'»*i?*'^'<t.'^-r "..M^ir-* 

good  measure  of    ^^#-'  W?^A''^"-?".   ■     If'^    ^*^'      *^.~  ■"•■     '^. 

protection,  other- 
wise flaking  and 
chipping   of    the 

paint  and  varnish  must  naturally  follow.  The  painter  may  well  strive  to 
make  the  work  of  sandpapering  an  exact  operation  — exact  as  to  thorough- 
ness as  applied  to  all  parts  of  a  surface,  and  exact  as  to  a  uniformity  of  results. 
In  company  with  the  labor  of  sandpapering  must  be  considered  dusting. 
The  latter  should  be  cleanly  and  tidily  done,  quite  as  thorough,  indeed,  as 


Oval,  Point  Putty  Knife. 


24  rilACTlCAL  L'AURlAd E  AM)   UA(i(JX  J'AIXTIXG. 

the  sandpapering  or  any  other  of  the  operations,  all  alike  important.  We 
now  come  to  an  article  indispensable  to  the  painter  in  arriving  at  a  state  of 
perfection  regarding  smoothness  of  surface. 

ROUGHSTUFF-HOW  MADE,  APPLIED,  AND  RUBBED. 

Webster  defines  "rough"  as  "having  inequalities,  small  ridges,  or  points 
on  the  surface,"  and  "stuff"  as  "refuse  or  worthless  matter."  But,  com- 
bining the  two  words  into  one- — roughstuff — the  painter  construes  the  term 
to  mean  something  different  from  the  construction  put  upon  it  by  the  eminent 
lexicographer  when  he  cleaved  it  evenly  in  twain. 

Without  the  coarse  mineral  pigments  known  as  "fillers,"  white  lead, 

and  the  liquid  mediums  used  to  properly  unite  and  weld  them  together  and 

denominated   roughstuff  when  ready  for  use.  the  painter,  in  his  effort  to 

make  satisfactoril}'  level  and  smooth  surfaces,  would  be  in  almost  as  sorry  a 

plight  as  the  mariner  bereft  of  his  compass.      For,  mark  you,  gentle  confreres! 

roughstuff   is  essential  to  carriage  body  surface  elegancies  and  mirror-like 

effects. 

FAVORITE  FORMULAS. 

No.  1. — To  3  lbs.  of  any  American  filler  add  1  lb.  keg  white  lead.  Beat 
well  together;  then  reduce  to  a  thick  paste  with  rubbing  varnish  and  japan, 
after  which  thin  to  brushing  consistency  with  turps.  This  is  a  safe  one- 
coat-per-day  'stuff. 

No.  2. — Equal  parts  of  filler  (excepting  English)  and  keg  lead,  by 
weight,  reduced  to  a  heav}'  paste  in  quick  rubbing  varnish  and  japan,  and 
then  cut  with  turps  to  the  proper  consistency.  Two  coats  per  day  may  be 
safely  applied. 

No.  8. — Five  lbs.  filler  (still  excepting  English);  2j  j  lbs.  keg  lead;  yi 
elastic  rubbing  varnish;  'ji  japan.  This  is  a  'stuff  for  fine,  heavy  coach 
work.     Apply  coat  every  72  hours.     Do  not  rub  out  under  three  weeks. 

No.  4. — (A  London  formula.)  Dry  white  lead,  ground  stiff  in  turpentine, 
\y^  lbs.;  ochre,  or  English  filling,  ground  stiff  in  turpentine,  4  lbs.  Mix 
the  two  and  add  yi  lb.  of  tub  lead.  Add  1  pint  of  japan  gold  size  and 
about  Yz  pint  of  the  bottoms  of  wearing  varnish.  Reduce  with  a  little 
turpentine  if  necessary.     This  is  a  very  durable  and  elastic  'stuff. 

No.  5. — (M.  Arlot's  formula.)  "Grind  separately  lump  white  lead  with 
es.sence  of  turpentine,  and  do  the  same  with  unwashed  yellow  ochre;  then 
mix  the  two  pastes  in  the  proportion  of  ^  of  white  lead  and  ]i^  of  ochre. 
Allow  the  mixture  to  stand  exposed  to  the  air  or  to  a  gentle  heat  in  order  to 
evaporate  the  excess  of  liquid,  and  add  gradually  small  portions  of  good 
drying  oil,  taking  care  to  stir  and  beat  the  mixture  well  with  a  brush,  as  in 
distemper  painting.  The  paste  thus  acquires  more  body."  Concerning  this 
'.stuff  the  author  adds:  "It  is  possible  with  this  composition  to  give  three  coats 
in  a  day's  work,  but  after  the  last  coat  we  must  wait  48  hours  for  drying." 

No.  0. — English  filler  3  lbs.;  keg  lead  1  lb.  Rubbing  varni.sh  and 
japan,  half  and  half,  to  make  a  stiff  pa.ste.     Thin  with  turpentine. 


rUAL'TKjAL   L'AlililAHE  AM)   HAdOy  J'A  L\'J'L\(,\  2r, 

No.  7. — English  filler,  mixed  stiff  with  rubbing  varnish,  jj;  japan  )-, 
Thinned  with  turpentine. 

Probably  genuine  iCnglish  filler  has  but  few,  if  any,  equals,  and 
certainly  no  superiors  as  a  roughstuff  pigment.  It  polishes  down  very  close 
and  compact  as  to  texture,  giving  a  glass-like,  non-porous  surface.  It 
requires  less  lead  than  other  fillers,  because  of  which  property  it  was 
speciall}'  mentioned  as  excluded  from  formulas  2  and  3.  It  does  not 
surface  down  as  easily  as  some  of  the  American  fillers,  a  fact  that  has 
'probably  limited  its  use  largely. 

In  using  keg  lead  for  roughstuff,  a  moderately  stiff  ground  lead  is  advis- 
able. A  lead  ground  in  an  excess  of  oil  w^ill  necessitate  washing  in  turps  to 
expel  a  portion  of  the  oil,  if  the  proper  proportions  of  ingredients  would  be 
maintained.  In  mixing  roughstuff,  it  pays  to  be  exact  as  to  proportions  and 
quantities.  Use  first-class  materials,  varnish,  japan,  etc.  Slops  and  refuse 
from  varnish  and  japan  cans  are  to  be  avoided.  They  leave  the  user  in  a 
state  of  uncertainty  as  to  the  composition  of  his  'stuff.  If  made  in  consid- 
trable  quantities  at  a  time,  the  pigment  should  be  stored  in  a  tight,  dust-free 

receptacle  and  well  covered  with 
water  or  turps,  else  it  will  very 
soon  become  gummy  and  unsuit- 
able for  good  work. 

The  chief  mission  of  roughstuff 
is  to  enable  the  painter  to  get  a 
firm,  hard,  level  surface.  It  re- 
quires putting  on  with  a  good 
brush,  and  a  skilled  and  painstak- 
ing wielder  of  the  tool.  Rough- 
stuff  should  be  carried  to  a  surface  a  little  heavier  in  body  than  ordinary 
paint,  but  its  spreading  and  flatting  property  should  in  no  wise  be  made 
sluggish  and  "ropy"  by  the  absence  of  thinning  mediums.  Better  an 
additional  coat  of  'stuff  than  one  coat  less  because  of  the  excessively  thick 
coats  used.  Roughstuff,  like  all  quick  setting  pigments,  needs  to  be  applied, 
brushed  out,  and  leveled  quickl}-  under  the  brush,  so  that  brush  marks  may 
not  intrude  or  uniformity  in  depth  of  film  be  wanting.  Use  a  brush  suited 
to  the  size  of  the  panel;  likewise  a  brush  with  a  softness  and  fineness  of 
point  and  sufficient  elasticity'  to  insure,  if  properl}-  wielded,  freedom  from 
brush  marks.  Too  heavy  a  pigment  is  no  more  a  prolific  cause  of  brush 
marks  than  a  too  nearly  worn  out  brush.  If  the  first  coat  of  'stuff  is  laid 
on  the  panel  with  horizontal  strokes  of  the  brush,  let  the  second  be  laid  with 
vertical  ones,  atid  vice  versa.  On  a  well-surfaced  job,  four  coats  should 
sufl&ce.  Where  greater  inequalities  of  the  surface  exist,  more  coats  wmII  be 
necessary.  But  it  is  an  established  maxim  in  both  the  practice  and  theory 
of  carriage  painting  that  the  less  roughstuff  used  upon  a  surface,  granted 
that  the  quantity  accords  perfectly  with  the  needs  of  the  surface,  the  greater 
the  durability  of  the  paint  and  varnish  structure. 


Paint  Strainer. 


26  rilMTICAL   CAlililAaE  AND   WA(rOX  I'AIXTIXG. 

The  successful  user  of  roughstuff  is  one  who  duly  considers  the 
importance  of  having  a  correctlj^-proportioned,  finely-balanced  mixture 
skillfully  applied  to  the  surface  amid  surroundings  favorable  to  its  prompt 
and  thorough  drying. 

A  guide  coat  to  be  used  over  roughstuff  is  made  of  a  little  of  the  'stuff 
colored  a  bit  with  yellow  ochre  or  Venetian  red  and  thinned  down  consider- 
ably thinner  than  the  'stuff,  with  turpentine. 

The  workman  who  has  roughstuff  to  rub  requires,  as  an  outfit,  plenty 
of  clean  water  right  at  hand,  a  good  sponge,  chamois  skin,  and  a  varied 
assortment  of  rubbing  stones  and  bricks.  The  rubbing  brick  product,  of 
German  origin,  has  been  considerably  improved  of  late  years;  to  such  an 
extent,  in  fact,  that  it  is  now  possible  to  obtain  it  as  fine  as  wished  for,  and 
running  from  that  up  to  a  very  coarse  quality.  However,  for  the  very  high 
class  work,  the  natural  lava,  or  pumice  stone,  is  not  to  be  surpassed.  The 
quality  of  the  rubbing  accomplished  depends  much  upon  the  selection  of  the 
blocks  of  pumice  stone.  The  blocks  of  light  W'eight,  open  grain,  tunneled 
with  innumerable  air  cells,  are  to  be  preferred  for  good  cutting  properties. 
Immersed  in  water,  they  float  instead  of  sinking.  The  buoyanc}'  of  a  piece 
of  lava  determines  its  porosity  and  its  cutting  power.  This  kind  of  stone 
may  be  used  until  the  surface  is  well  reduced,  when,  preferably,  the  stone  of 
closer  texture  and  tighter  grain  may  next  be  used  and  continued  in  use  until 
the  final  dressing  up  has  been  concluded.  Select  stones  of  large  cutting 
surface.  After  the  sawing,  filing,  and  necessary  dressing  up  of  the  stone  in 
preparing  it  for  the  surface,  it  merits  a  thorough  washing  and  rinsing  to 
cleanse  it  from  all  minute  atoms  of  grit,  etc.  In  the  actual  work  of  rubbing 
a  surface,  keep  the  surface  well  washed  to  prevent  gumming  of  the  stone 
and  to  enable  the  eye  to  see  just  what  the  mind  and  muscle  are  doing;  but 
do  not  flood  the  work  with  water.  The  rubbing  stone  is  doing  its  work 
properly  when,  under  an  even,  gentle  pressure,  it  cuts  smooth  and  free  with 
a  clinging,  adhesive  motion.  When  a  particle  of  grit  becomes  lodged  under 
the  stone  there  will  be  a  rolling,  jarring  motion,  easy  for  even  an  unpracticed 
hand  to  detect,  provided  vigilant  attention  is  being  directed  upon  the  work. 
When  scratching  of  the  surface  occurs,  the  rubbing  stone  requires  smooth- 
ing off  with  another  stone,  and  the  surface,  stone,  etc.,  given  a  thorough 
rinsing  with  clean  water.  Circular,  zig-zagging  motions  of  the  stone  are 
ill-advised.  Straight,  clean  strokes,  all  directed  in  one  general  direction, 
are  best  and  most  effective.  A  surface  is  not  always  rubbed  suflBciently  fine 
when  the  guide  coat  disappears.  The  guide  coat  may  be  but  a  mere  wash 
and  disappear  almost  completely  under  a  few  strokes  of  the  stone.  The 
disappearance  of  such  a  guide  (?J  coat  is  not  evidence  that  the  proper  surface 
has  been  reached.  By  repeatedly  drawing  the  hand,  with  a  good  pres.sure, 
acrcss  the  surface  at  riui^ht  angles  with  the  direction  that  governed  the 
laying  off  of  the  final  coat  of  filler,  the  workman  can  v^ery  accurately  decide 
when  an  adequately  fine  surface  has  been  reached. 


PRACTICAL   (AniiLUll^:  AM)    WAdOX  I'M  STISd.  27 

To  determine  when  a  surface  has  been  rubbed  just  enough  usually  gives 
the  inexperienced  rubber  no  little  difficulty,  but  with  practice  he  will  master 
the  accomplishment.  On  moulded  panels  it  is  advisable  to  rub  the  edges  of 
the  surface  first,  as  it  will  lessen  the  tendency  to  thrust  the  stone  forcibly 
against  the  moulding,  thus  chipping  off  atoms  of  stone  to  be  ground  into  the 
surface  later  on. 

Rubbing  the  roughstuff  is  the  final  process  in  the  art  of  developing  the 
comely  and  durable  foundation.  Does  not  the  ivork,  then,  merit  a  full 
measure  of  skill,  alertness,  and  patience  in  its  execution? 


CHAPTER  IV. 

PRISMATIC  AND  OBJECTIVE  COLOR— HARMONIZING  AND  CONTRASTING 
COLORS— MIXING  COLORS  TESTING  THEM— ASSAYING  FOR  OPACITY, 
COLORING  STRENGTH,  BRILLIANCY,  ETC.— TABLE  FOR  COMPOUNDING 
COACH  COLORS,  HUES,  AND  TINTS. 

WHILE  colons,  as  we  know  them,  differ  from  each  other,  they  exist, 
according  to  the  generally  accepted  theory,  as  .simply  different 
movements  of  the  same  element.  The  immense  ocean  of  ether, 
which  is  in  all  space,  is  one,  and  the  colors  are  all  waves  of  that  one  ocean. 

When  a  ray  of  light  undergoes  a  change  of  direction  it  is  divided  into 
many  minor  rays,  which  to  our  visual  sense  are  represented  as  colors.  As, 
for  example,  if  a  ray  of  white  light  be  directed  through  the  edge  of  a 
triangular  prism  so  that  its  course  is  b^nt  or  refracted,  the  raj- is  divided  into 
several  diflferent  rays  of  colors,  these  being  thereby  termed  spectrum  colors. 

It  is  practically  agreed  by  authorities  that  the  rainbow  affords  the  most 
complete  illustration  of  spectrum  colors,  these  being  formed  by  the  passage 
of  light  through  the  spray  or  drops  of  water  in  a  shower.  Color,  then,  may 
be  said  to  be  due  to  the  action  of  light.  Hence  the  established  dictum, 
namely,  white  is  a  reunion  of  all  the  colored  rays  of  the  prismatic  spectrum. 
It  is  a  basic  element  in  everj'-  color  except  black,  and,  as  a  color,  black 
figures  as  an  absolute  neutral,  it  being  devoid  of  white  light. 

The  conditions  and  circumstances  which  unite  to  produce  the  varying 
and  various  color  sensations  have  never  yet  been  unanimously  agreed  upon 
by  the  eminent  color  theorists.  The  practical  man  may  thread  the  remotest 
confines  of  color  theories  as  expounded  by  Newton,  Brewster  Jones,  Field, 
Rood,  Young,  and  others,  until  his  adventures  bring  him  out  on  the  toil- 
won  heights  and  stupendous  summits  of  the  modern  science  of  colors,  and 
what  he  beholds  will  .simply  tend  to  confuse  his  intellect  and  more  than  ever 
convince  him  that  the  mastery  of  color  laws  remains  yet  to  be  accomplished; 
that  no  unalterable  rule  can  be  successfully  applied  to  the  theory  of  color. 
To  those  of  my  readers  who  desire  to  explore  deeply  into  the  recesses  of 
color  .science,  I  would  recommend  the  works  by  the  afore-mentioned  colorists. 
It  is  the  purpose  to  deal  in  this  chapter,  so  far  as  possible,  with  the  more 
practical  aspects  of  the  .science. 

Objective  color,  as  distinguished  from  what  is  termed  illusive  or  pris- 
matic color,  is  confined  to  those  substances  or  materials  endowed  wi4h  the 
selective  property  for  absorbing  the  colored    rays  from  the  light  which   is 


riiACriCAL   CAliiilAdE  AXI)   WA^iOX  i'AIM/Xa.  2!) 

imparted  to  iheiu,  and  which,  in  the  technology  of   painting,  are  known  as 
pigments. 

The  colors  which  make  up  the  three  orders  usually,  but  not  invariably, 
recognized  by  modern  colorists,  and  which  practically  apply  to  the  needs  of 
the  vehicle  painter,  may  be  placed  as  follows:* 

Primary  Colors  ScL-ondury  rolors  Torliiiry  Colors 

Red  Green  Russet 

Yellow  Purple  Citron 

Blue  Orange  Olive 

Carmine,  ultramarine  blue,  and  lemon  chrome  yellow  most  nearly 
approach  to  the  prismatic  colors,  and,  taking  them  for  the  primaries,  we 
And,  according  to  the  deductions  of  Chevreul  and  others,  that  in  propor- 
uonal  strength  they  rank  thus:  Yellow,  the  weakest,  3;  red,  medium,  o; 
blue,  strongest,  8.  To  form  the  secondary  colors,  yellow,  3  parts,  and  blue, 
8  parts,  produces  green,  which  is  the  contrasting  color  to  red,  the  contrasting 
primary  being  always  the  color  not  contained  in  the  secondary.  Purple,  the 
contrast  to  yellow,  contains  red,  5  parts;  blue,  8  parts.  Orange,  the  contrast 
to  blue,  has  red,  5  parts;  yellow,  3  parts.  Any  color  in  the  secondary' 
column  opposite  a  color  in  the  primary  column  is  the  contrasting  color  to 
that  primary,  and  in  the  tertiary  column,  the  tertiary  opposite  any  given 
secondary  may  be  accepted  as  the  harmonizing  color  to  that  secondary's 
contrasting  primary;  as,  for  example,  yellow,  the  primary,  has  purple  as  its 
contrasting,  and  citron  as  its  harmonizing,  color.  In  like  manner  russet 
harmonizes  with  red  and  olive  with  blue.  The  tertiaries  may  be  produced 
by  uniting  the  secondaries  in  equal  proportions,  or  by  the  primaries  being 
combined  in  the  proportion  of  2  parts  of  any  given  primary  and  1^  part  of 
each  of  the  two  remaining  primaries.  For  in.stance,  olive  is  made  of  purple 
and  green,  both  secondaries,  or  it  may  be  made  of  blue,  2  parts,  and  1  i)art 
each  red  and  yellow.  Citron  is  made  from  green  and  orange;  russet  from 
orange  and  purple.  Referring  to  the  three  different  orders  of  colors,  it  wall 
be  found  that  experiment  will  enable  one  to  effect  many  changes  in  the 
dev^elopment  of  color  harmony.  Any  one  color  of  any  of  the  three  orders 
wmII  harmonize  with  the  colors  which  contrast  with  the  remaining  two  colors 
of  the  same  order.  Take  the  primary,  blue.  The  contrasting  colors  to  the 
remaining  two  primaries  are  purple  and  green,  with  which  blue  harmonizes. 
The  contrasts  to  the  primaries,  red  and  blue,  are  respectively  green  and 
orange,  with  which  the  third  primary,  yellow,  harmonizes.  Or  red  will 
harmonize  with  the  contrasts  to  the  primaries,  yellow  and  blue,  which  are 
purple  and  orange.  Continuing  the  e.xperiment  to  the  secondary  colors,  it 
is  found  that  green  harmonizes  with  citron  and  olive,  the  contrasts  to  the  two 
remaining  secondaries,  purple  and  orange;  purple  harmonizes  with  rus.set 
(russet  contains  a  double  share  of  red,  bear  in  mind)  and  olive,  both  being 

*With  a|X)loofies  to  Mr.  W.  G.  Scott  and  otbeis  who  have  published  similar  but 
more  elaborate  and  scientiUe  presentations. 


30  PRACTICAL  CARBIAGE  AXD  WAGON  PAINTING. 

contrasts  to  orange  and  green,  the  other  secondaries.     Orange  harmonizes 
with  citron  and  russet,  the  contrasts  to  purple  and  green. 

These  experiments  in  the  domain  of  color  contrasts  and  harmony  might 
be  pursued  indefinitely,  but  the  above  will  suffice  to  afford  the  student  who 
essays  the  colorist's  art  (and  what  vehicle  painter  doesn't  aspire  to  that  art?) 
a  practical  working  plan  for  the  acquirement  of  such  information  as  will 
enable  him  ultimately  to  successful!}'  meet  the  exacting  requirements  of 
modern  vehicle  ornamentation.  Knowledge  of  the  harmony  of  analogy,  a 
simple,  effective,  and  ready  way  of  varying  painting,  together  with  a 
knowledge  of  contrasts,  the  finer,  higher,  and  superior  system  of  effecting 
the  most  adorable  and  fetching  color  adornment,  is  an  indispensable  help  to 
the  painter,  to  attain  which  he  can  well  afford  to  make  many  sacrifices. 

The  harmony  of  color  as  it  applies  to  the  use  of  two  or  more  colors 
with  reference  to  the  relationships  which  should  exist  between  them, 
requires  to  be  further  intensified  b}^  a  strict  and  vigilant  regard  for  the 
season,  conditions,  and  circumstances  which  obtain  when  certain  combina- 
tions of  colors  are  employed.  And  for  this  reason:  Blue  is  a  cold  color, 
chilly  in  the  extreme  at  some  .sea.sons  of  the  year,  upon  certain  surfaces.  It 
may  be  called  a  space  color  and  imparts  a  retiring  effect  to  form.  Red, 
applied  to  form,  appears  stationary  and  gives  a  warmth  of  sentiment. 
Orange  is,  if  an^'thing,  warmer  in  its  effect  than  a  full  red.  Bright  yellow 
tends  to  excitement  of  the  vision.  Green  has  a  conspicuous  or  advancing 
appearance. 

The  primary  colors  have  no  established  hues,  tints,  or  shades,  but  in 
every  compound  of  the  primaries  a  hue  is  recognizable.  Green,  for  instance, 
as  a  compound  of  blue  and  j'ellow,  can  be  made  to  vary  surprisingly  in  hue 
as  the  proportion  of  one  primary  is  increased  and  the  other  reduced,  and 
vice  versa. 

In  every  compound  of  the  primaries  the  predominating  primary  fixes 
the  hue  thereof  Hue,  then,  as  an  authority  has  well  said,  may  be  "a 
mixture  of  two  or  more  colors  of  any  order,  but  the  mixture  should  not 
depart  from  the  original  color." 

Tone,  as  applied  to  a  color,  measures  the  depth  of  the  hue  of  that  color. 

Dilute  a  color,  or  the  hue  thereof,  with  white,  and  a  tint  of  that  color 
or  hue  is  the  result.  To  illustrate:  By  adding  white  to  chrome  yellow,  the 
yellow  is  reduced  along  down  through  the  long  lists  of  tints  until  it  reaches 
white. 

A  color  or  hue  deepened  by  the  addition  of  black  becomes  a  .shade  of 
that  color  or  hue;  or,  in  other  words,  a  shade  is  any  color  made  deeper  by 
the  addition  of  black.  The  po.sitive  colors  contain  no  white  or  black  by 
mixture,  while  the  negative  colors  do  contain  white  or  black  or  both. 

THE  MIXING  OF  COLORS, 
in  view  of   the  fact  that  the  manufacture  of   them  has  now  reached  a  very 
high  state  of  perfection,  would  seem  lo  be  a  comparatively  easy  matter,  bu'i 


PRArriCAL   CARHIAHE  AM)    WAdOS   IWlSilM;.  .{1 

it  must  be  understood  that  in  vehicle  painting,  bnsiness  vehicle  painting 
especially,  there  are  many  hues,  tints,  and  shades  demanded  which  the  color 
maker  does  not  furnish.  Such  mixtures  have  to  be  jirepared  by  the  painter, 
and  the  work  becomes  a  skilled  operation.  First  he  must  be  fortified  with 
a  clear  knowledge  of  the  proportions  of  the  ingredients  required  to  form  the 
desired  color  or  hue  thereof,  or  tint  or  shade.  Then  he  nuist  skillfully  and 
perfectly  combine  them.  The  w'ord  "perfectly"  is  emphasized  because  if  the 
constituents  be  not  perfectly  combined,  a  long  train  of  evils  is  invited.  A 
most  minute  and  perfect  incorporation  of  all  the  particles  of  the  paint 
material  must  be  made,  otherwise  a  lack  of  uniformity  in  strength,  coloring, 
and  covering  power  results.  Certain  colors  have  a  property  of  unduly 
asserting  themselves  when  combined  with  certain  other  colors  in  the  mixing 
cup,  and  if  allowance  be  not  made  for  this  assertive  strength  and  a  very 
thorough  mixture  of  the  parts  effected,  the  color,  when  applied  to  the 
surface,  is  apt  to  show  streaks.  Some  pigments  require  grinding  upon  the 
slab  under  the  muller  to  obtain  an  absolutely  perfect  commingling  of  the 
particles. 

This  rule  applies  to  the  mixing  of  pigments:  The  more  perfect  the 
mixing,  the  more  perfect  the  product;  perfect  not  only  as  regards  its  strength, 
permanence,  and  brilliancy  of  color,  but  perfect  also  as  regards  its  working 
properties. 

While  two  or  more  pigments  may  mix  nicely  together,  they  may  not 
liquify  readily,  and  unless  the  workman  be  thorough  in  his  mixing  opera- 
tions, lack  of  a  uniform  film  of  color  ensues,  a  condition  which  later  on 
develops  the  faded  and  bleached  out  surface,  and  in  many  instances  the 
flaking  and  shelly  one.  The  painter  who  would  become  a  skilled  mixer  of 
pigment  will  insist  upon  exact  quantitative  measurements  of  all  the  ingre- 
dients he  may  employ,  both  liquids  and  solids,  when  such  measurements  are 
possible,  and   he  will  further  see  that  the  ingredients  are  perfectly  united. 

The  attainment  of  a  high  average  of  results  in  the  use  of  colors  depends 
greatly  upon  the  achievements  of  the  color  maker  and  upon  the  uniform 
quality  of  his  product.  Fineness  of  grinding,  uniformity  of  color  in  respect 
to  its  coloring  and  covering  i^ower,  and  brilliancy,  are  valued  essentials.  It 
is  necessary  that  the  painter  sliouki  get  from  the  color  maker  not  one,  two, 
or  three  successive  lots  of  color  that  are  of  standard  color,  tint,  or  shade, 
but  every  lot  should  correspond  to  the  exact  standard.  When  the  painter 
opens  a  new  lot  of  color,  he  desires  it  to  be  exactly  like  the  last  in  every 
particular,  provided,  ofcour.se,  the  last  lot  was  standard.  Hence,  uniformity 
of  color,  of  tint,  of  shade,  of  quality  throughout,  is  a  requirement  with  which 
the  color  maker  may  properly  be  expected  to  comply.  It  will  thus  be 
observed  that  the  purcha.se  of  colors  is  one  of  the  really  important  steps 
leading  up  to  fine  and  durable  color  effects. 

In  testing  a  color  for  covering  power  or  opacity,  for  coloring  strength. 


32  I'RACTICAL  CARRIAGE  AXD  WAGOX  PAINTING. 

and  tor  L-rilliaiicy,  comparison  should  always  be  made  with  a  strictly  standard 
color. 

To  assay  for  covering  power  or  opacity,  weigh  out,  say  50  grains,  of  the 
standard  color  and  the  same  number  of  grains  of  the  color  under  examina- 
tion, and  to  each  sample  add  10  grains  of  fine  china  clay,  if  the  colors  be 
dark,  or  10  grains  of  the  highest  grade  of  lampblack  (this  being  a  pure 
black)  should  they  be  light,  and  mix  intimately.  The  sample  which  departs 
the  least  from  its  own  color  has  the  best  body  or  covering  power.  Or  mix 
exactly  equal  quantities  of  the  standard  color  and  the  color  to  be  assayed,  in 
equal  quantities  of  raw  linseed  oil,  incorporating  the  oil  and  the  pigment 
thoroughly,  and  then  apply  to  glass  surfaces  (small  panes  of  window  glass 
answer  the  purpose  fully),  spreading  the  pigment  as  evenly  as  possible. 
The  sample  covering  the  glass  most  solidly  has  the  strongest  covering  power. 

Coloring  power  is  determined  by  mixing  a  given  quantity  of  a  standard 
sample  of  color  with  a  certain  quantity  of  china  clay  or,  if  preferred,  zinc 
white.  Of  the  sample  to  be  assayed  take  the  same  quantity  of  color  and 
mix  with  exactly  the  same  quantity  of  china  clay  or  zinc  white  used  with 
the  standard.  The  sample  showing  the  greatest  depth  of  color  may  be 
accepted  as  having  the  strongest  coloring  power. 

The  durability  or  permanency  of  a  pigment  may  be  tested  by  mi.xing 
the  pigment  with  raw  linseed  oil,  spreading  on  a  piece  of  glass,  exposing  it 
to  ihe  rigors  of  the  weather,  and  noting  its  condition  from  time  to  time. 

The  fineness  of  a  color  or  pigment  can  be  judged  b}^  rubbing  the 
material  between  two  thick  pieces  of  glass  or  subjecting  it  to  a  powerful 
microscopic  examination.  Or  a  common  fruit  can  with  a  tight  cover  may 
be  two-thirds  filled  with  clean  w^ater,  half  an  ounce  of  color  put  therein, 
and  the  contents  vigorously  shaken.  The  finer  the  sample  is  ground,  the 
longer  the  time  it  will  require  to  settle  out. 

The  following  table  is  intended  to  aid  in  the  compoiniding  of  the  prin- 
cipal hues,  tints,  and  shades  of  colors  used  in  carriage  and  wagon  painting. 
It  would  prove  futile  to  try  to  make  the  proportions  arbitrary,  because  the 
miiformity  of  colors  advocated  above  does  not  universally  obtain,  the 
product  of  one  firm  differing  from  that  of  other  firms  and  very  often,  unfor- 
tunately, lacking  uniformity  in  itself. 

Moretjver,  color  sense  has  not  reached  a  uniform  development,  and  the 
proportions  which  would,  for  example,  make  a  cherry  red  as  accepted  by 
one  person  might  not  appear  that  color  to  the  second  person.  However,  in 
most  of  the  formulas  proportions  are  indicated,  and  the  table  is  presented  not 
as  an  infallible  guide,  l)iit  more  in  the  nature  of   a  reliably  helpful  one. 

tablp:  of  hues,  tints,  and  shades  of  colors. 

REDS. 
Transparent  Red — No.  10  carmine. 
French  Red — Indian  red  and  vermilion  glazed  with  carmine. 


PRACTICAL  CARRIAGE  AND  WAfiON  I'AI\TI.\n.  3.1 

Carnation  Red — Red  lake,  8  parts;  white,  1  part. 

Wine  Color — -Carmine,  ?>  parts;  ultramarine  blue,  8  jiarts. 

Claret — Carmine  and  ultramarine  blue,  or  red  and  black. 

Imperial  Red — Yellow  lake,  1  part;  solferino  lake,  5  parts. 

Cherry  Red — Carmine,  1  part;  ICnglish  vermilion,  2  parts. 

Maroon  Red — Lampblack,  1  part;  Venetian  red,  <S  parts. 

Solid  Crimson — English  verniilioii,  1  part;  carmine,  2  parts. 

Superlative  Vermilion — English  vermilion,  3  parts;  orange  mineral,  1 
part. 

Deep  Rose — Victoria  lake,  1  part;  flake  white,  0  parts. 

Brick  Red — Yellow  Ochre,  2  parts;  English  vermilion,  1  part;  white,  1 
part. 

Metropolitan  Red — Carmine  and  vermilion,  glazed  with  carmine.  A 
stunning  and  saucy  panel  color. 

YELLOWS. 

Primrose — Add  a  dash  of  white  to  lemon  yellow.  Or,  according  to 
Standard  Dictionary,  58%  of  white,  24 9^  of  yellow,  and  18%  of  green.  It 
should  be  of  a  very  pale  yellow  tint;  is  fashionable  and  originally  English, 
you  know. 

Maroon  Yellow — Carmine,  3  parts;  yellow,  2  parts. 

Rich  Yellow — Orange  chrome,  1  part;  white,  6  parts. 

Buff— White,  2  parts;  yellow  ochre,  1  part. 

Oak — Yellow  ochre,  1  part;  white,  8  parts. 

Jonquil  Yellow — Flake  white  and  chrome  yellow,  with  a  bit  of  carmine 
added. 

Sulphur  Yellow — Lemon  chrome,  1  part;  white,  1  part. 

Amber  Yellow — Chrome  yellow  (medium),  8  parts. 

Canary  Yellow-  -White,  G  parts;    lemon  chrome,  1  part. 

Naples  Yellow— White,  150  parts;  golden  ochre,  9  parts;  orange 
chrome,  1  part. 

Straw  Color— White,  5  parts;  lemon  yellow,  2  parts;  vermilion,  a  drop 
or  two. 

Lemon  Color — Lemon  yellow,  2  parts;  white,  5  parts. 

Cream  Color— White,  5  parts;  red,  1  part;  yellow,  2  parts. 

Cream  Tint — White,  150  parts;  orange  chrome,  1  part. 

Gold — White  and  medium  chrome  yellow.  Add  a  little  vermilion  and 
French  yellow  ochre. 

Pale  Orange — Orange  chrome,  1  part;   white,  5  parts. 

Acorn  Yellow — White  and  raw  sienna,  equal  parts. 

BLUES. 
Changeable  Blue — Prussian  blue. 

Ocean  Blue — White,  15  parts;  Prussian  blue,  1  part;  raw  sienna,  2 
parts. 


34  PRACTICAL  CARRIAGE  AXD  WAGOX  J'AIXTIXG. 

Ultramarine  Blue — Three  shades,  light,  dark,  and  medium. 

Grass  Blue — White,  6  parts;  emerald  green,  2  parts;  Prussian  blue,  1 
part. 

Azure  Blue — White,  35  parts;  ultramarine  blue  (medium),  1  part. 

Cerulean  Blue — White,  colored  with  ultramarine  blue. 

Bird's-Hgg  Blue — Add  ultramarine  blue  to  white  until  a  tolerably 
intense  blue  is  reached;  then  give  a  dash  of  light  chrome  green. 

Cobalt  Blue — A  fine  pale  blue,  and  a  most  beautiful  panel  color.  Very 
permanent. 

Brunswick  Blue — Made  in  three  shades.     Popular  in  some  sections. 

GREENS. 

Sage  Green — White,  60  parts;  light  chrome  green,  2  parts;  raw  umber, 
1  part. 

Bottle  Green — Dutch  pink  and  Prussian  blue,  glazed  with  yellow  lake; 
or  medium  chrome  green,  5  parts;  drop  black,  1  part. 

Nile  Green,  otherwise  Body  Green — Milori  green,  Prussian  blue,  and 
black,  mixed  to  the  desired  shade  and  glazed  over  with  yellow  lake. 

Tea  Green — Made  of  blue  chrome  green  and  raw  umber.  A  striking 
panel  color  for  business  wagons. 

Pea  Green — White,  5  parts;  chrome  green,  1  part. 

Willow  Green — White,  5  parts;  verdigris,  1  part. 

Grass  Green — Yellow,  3  parts;  Prussian  blue,  1  part. 

Marine  Green — White,  30  parts;  chrome  green,  1  part. 

Brilliant  Green — Paris  green,  4  parts;  chrome  green,  1  part. 

Bronze  Green — Chrome  green,  5  parts;  burnt  umber,  1  part;  black,  1 
part. 

Scheele's  Green — Paris  green. 

Milori  Green — A  fine  panel  color  for  business  vehicles;  is  rich  in  color 
and  of  good  covering  power. 

Olive  Green — Golden  ochre,  5  parts;  coach  black,  1  part. 

Quaker  Green — Chrome  yellow,  o  parts;  Prus.sian  blue,  2  parts;  ver- 
milion, 1  part. 

The  greens  form  a  class  of  colors  very  extensively  employed  in  the 
painting  of  all  clas.ses  of  vehicles.  There  are  two  orders  of  green,  namely, 
cold  and  warm.  In  cold  greens,  blue  or  black  predominates;  the  warm 
greens  contain  an  excess  of  yellow.  As  a  class,  the  greens  contrast  with 
reds  and  colors  containing  red,  and  harmonize  with  colors  having  yellow  or 
blue  in  their  composition. 

BROWNS. 

Olive  Brown— Burnt  umber,  3  parts;  lemon  yellow,  1  part. 

Dlf.marck  Brown — Dutch  pink,  burnt  umber,  and  lake.  Or,  with  a 
mixture  of  burnt  umber  2  parts,  white  lead  1  part,  make  a  ground,  over 
which  put  a  coating  of  burnt  .sienna,  and  then  glaze  with  carmine,  1 J2  parts; 


PRACTICAL  CAltlilAdE  ASH   M'.l^O.V  I'MXTlSd.  .T. 

crimson  lake,  1  part;  gold  bronze,  1  part.  An  Knglish  vermilion  makes  a 
base  over  which  the  glazing  makes  a  considerably  lighter  brown. 

Orange  Brown — Orange  chrome,  2  parts;  bnrnt  sienna,  .'!  parts. 

Coffee  Brown — Yellow  ochre,  2  parts;  bnrnt  sienna,  1  part;  burnt 
umber,  5  parts. 

Dark  Brown — Indian  red,  5  parts;  Prussian  blue,  1  part. 

Amber  Brown — Burnt  sienna,  4  parts;  medium  chrome  yellow,  5  parts; 
burnt  umber,  8  parts. 

Indian  Brow^n-Indian  red,  1  part;  yellow  ochre,  1  jiart;  lampblack,  1 
part. 

Seal  Brown — Burnt  umber,  4  parts;  golden  ochre,  1  part. 

Tan  Brown — Yellow,  2  parts;  raw  umber,  1  part;  burnt  sienna,  5  parts. 

Japan  Brown — Black  japan,  to  which  is  added  a  little  vermilion. 

Umbers — A  class  of  natural  earths,  affording  varying  shades  of  brown, 
the  Cypress  mines  yielding  rich,  warm,  olive  colors.  Calcined,  this  umber 
reaches  a  positive  violet  shade.  Burnt  umber  used  alone  or  in  connection 
with  red  and  black,  gives  a  very  striking  panel  color  for  business  vehicles. 

Vandyke  Brown — A  product  of  natural  deposits  of  brown  color.  Van- 
dyke brown  is  a  warm  color  of  a  reddish  hue  and  is  permanent.  Most- of 
the  Vandyke  browns  with  which  the  carriage  painter  is  familiar  are  made, 
however,  from  black,  red,  and  yellow. 

Burnt  Sienna — A  fine,  warm,  reddish  brown,  if  the  sieima  be  of  good 
quality.     A  very  close  imitation  of  Bismarck  brown. 

Chestnut  Brown — Red,  2  parts;  chrome  yellow,  2  parts;  black,  1  part. 

Chocolate  Color — A  little  carmine  added  to  burnt  umber. 

MISCELLANEOUS. 

London  Smoke — Red,   1  part;    umber  (burnt),   2  parts;  white,   1  part. 

Plum  Color — White,  2  parts;  red,  1  part;  blue,  1  part. 

Salmon  Color — White,   5  parts;    burnt  umber,   1  part;    yellow,  1  part. 

Chamoline  (wet  chamois  skin) — White,  5  parts;  raw  sienna,  3  parts; 
lemon  chrome,  1  pai  t. 

Cane  Color — White  and  ochre  shaded  with  black. 

Dove  Color — Medium  chrome  yellow,  1  part;  blue,  1  part;  white,  4 
parts;  vermilion,  2  parts. 

Fawn  Color — White  and  ochre  with  a  bit  of  vermilion.  , 

Burgundy — A  bright  lake  given  a  small  percentage  of  a.sphaltum. 

Silver  Color — White,  indigo,  and  black. 

Leather  Color — Burnt  sienna,  2  parts;  burnt  umber,  1  part;  a  little 
white  added. 

Lilac — Blue,  1  part;  carmine,  4  parts;   white,  3  parts. 

Plum  Color — White,  2  parts;  blue,  2  parts;  red,  1  part. 

Maroon — Carmine,  3  parts;  yellow,  2  parts.  Or  crimson  lake  and 
burnt  umber. 


36  PRACTICAL  CARRIAGE  AND  WAGON  PAINTING. 

Copper  Color — Yellow,  2  parts;  red,  1  part;  black,  1  part. 

True  Lead  Color— White,  8  parts;    blue,  1  part;   black,  1  part. 

Normal  Gray — White,   black  and  purple;   or  simply  white  and    black. 

Pearl  Gray — White,  black,  and  blue. 

French  Gray — White,  tinted  with  ivory  black,  the  mixture  warmed 
with  a  pinch  of  vermilion. 

Drab  Color — Burnt  umber,  1  part;  white,  0  parts. 

Medium  Gray — White,  8  parts;  black,  2  parts. 

Light  Gray — White,  9  parts;  black,  1  part;  blue,  1  part. 

Wine  Color — Ultramarine  blue,  2  parts;  carmine,  o  parts. 

Blue  Black — Ivory  black,  15  parts;  Prussian  blue,  1  part. 

Snuff  Color — Yellow,  4  parts;  Vandyke  brown,  2  parts. 

Peach  Blossom  Color — White,  8  parts;  blue,  1  part;  red,  1  part;  yellow, 
1  part. 

Lavender — White,  15  parts;   mauve  lake,  1  part;    rose  madder,  1  part. 


CHAPTER  V. 

THE  APPLICATION  OF   COLORS   TO  SURFACES.— GREENS— BLUES— REDS- 
YELLOWS -BROWNS— BLACKS— WHITE. 

THK  greens  comprise  a  class  of  colors  many  of  which  are  leaders  in 
popularity  as  panel  colors  on  heavy  pleasure  vehicles,  such  as  lan- 
daus, broughams,  roCkaways,  etc.  Nearly  all  the  greens  are  used 
as  solid  colors,  requiring  no  specially  prepared  ground  work  color.  The 
ease,  however,  with  which  solidity  and  density  of  color  is  obtaine*d  upon  a 
surface  is  greatly  overshadowed  by  the  difficulty — the  extreme  difficulty, 
perhaps  I  should  say — of  applying  most  of  the  fine  carriage  greens  now 
fashionable.  Such  greens  as  olive,  Quaker,  Brewster,  and  Merrimac  green, 
individually  and  collectively  favorites,  require  very  deft  and  painstaking- 
manipulation  in  the  cup  and  under  the  brush  in  order  to  insure  workman- 
like results.  Probably  olive  green  manifests  the  most  pronounced  disposition 
to  assert  the  strength  of  some  one  or  more  of  its  color  constituents  inde- 
pendently and  to  the  detriment  of  the  remaining  ones.  To  overcome  this 
difficulty,  the  color  in  the  cup  should  be  stirred  frequently  after  having  been 
mixed  thoroughly  when  in  preparation  for  the  surface.  In  applying  greens 
to  the  surface — and  this  statement  is  intended  to  cover  the  entire  list  of 
greens  used  in  carriage  and  wagon  painting — cross  brushing  at  the  final 
conclusion  of  laying  off  the  color  may  well  be  avoided.  The  tendency  of 
cross  brushing  at  the  ends  of  a  panel  is  to  show  two  or  more  diSerent  shades 
of  the  same  green.  The  rule  holds  good,  when  using  the  greens,  to  adhere 
to  thorough  methods  of  mixing,  to  keep  the  color  well  stirred  in  the  cup, 
and  to  desist  from  cross  brushing  at  the  extremities  of  the  panels  in 
finishing  up. 

These  characteristics  so  conspicuously  developed  as  opportunity  offers 
have  prompted  a  majority  of  carriage  painters  and  colorists  in  our  best  shops 
to  use  most  of  the  greens  employed  on  fine  carriage  surfaces  in  the  capacity 
of  flat  color  coats  (two  coats  in  nearly  all  cases  covering  solid)  and  then 
applying  clear  rubbing  varnish,  thus  doing  away  with  the  color-and-varnish 
coats  altogether.  The  greens  which  are  used  as  glazing  colors  comprise 
ultramarine  green,  verdigris,  and  transparent  bronze  green. 

THE  BLUES. 

Next  to  the  greens  in  popularity  as  fine  panel  colors  come  the  blues, 
ultramarine  blue  ranking  as  the  most  widely  used  of  the  various  varieties. 
The  elegance  and  aristocratic  effects  obtained  by  the  employment  of   ultra- 


38      ,  PEACTICAL  CARRIAGE  AXD  WAGOX  PA fXTIXG. 

marine  blue  are  secured  only  bj'  the  development  of  a  ground  work  free  from 
impertections.  As  a  matter  of  fact,  the  successful  use  of  almost  every  coach 
color,  whether  used  as  a  glazing  color  or  otherwise,  is  contingent  upon  the 
quality  of  the  ground  color  and  upon  such  a  harmonious  assimilation  of  the 
different  coats  as  will  promote  the  greatest  elasticity  and  permanence.  Of 
the  ultramarine  blue  there  are  three  shades,  light,  medium,  and  dark.  Most 
color  manufacturers  prepare  and  sell  ground  colors  adapted  to  the  different 
shades  of  the  blue,  the  ultramarine  being  invariably  used  as  a  color-and- 
varnish  or  glazing  coat.  Nevertheless,  it  is  often  necessary,  even  if  not 
desirable,  to  shop  prepare  the  ground  color  for  the  ultramarine  blues  when 
wanted. 

For  the  light  shade  of  ultramarine  blue,  Prussian  blue  and  a  superior 
grade  of  white  lead  are  so  combined  as  to  produce  a  blue  of  good  depth  and 
bod}',  unusual  care  being  taken  to  have  the  blue  and  white  thoroughly 
united  and  beaten  into  one  indivisible  pigment.  If  keg  lead  be  used  in 
making  the  ground,  the  oil  should  be  first  completely  washed  out  of  the 
pigment  with  benzine  or  turpentine,  and  varnish,  instead  of  oil,  be  employed 
as  the  color  binder.  This  practice  provides  for  sure  and  reliable  drying  of 
the  ground  color.  The  ground  for  the  medium  ultramarine  blue  may  be 
made  of  the  ingredients  above  stated,  the  color  being  simply  adjusted  to  a 
deeper  shade  of  blue,  more  blue  and  less  white  being  used  in  the  admixture. 
In  both  the  light  and  the  medium,  the  ground  color  should  approximate  the 
glaze  color  and  enhance  the  richness  of  effect.  For  the  dark  shade  of  ultra- 
marine blue,  a  coat  of  lampblack  furnishes  a  most  excellent  and  effective 
ground  color. 

Probably  the  richest  effect  in  blue  is  furnished  by  glazing  ultramarine 
blue  over  a  ground  of  very  deep  green.  Transparent  cobalt  blue,  a  glaze 
color  always,  requires  a  ground  of  Prussian  blue  and  white.  Body  cobalt  is 
used  as  a  solid  color,  and  for  a  panel  color  on  traps,  breaks,  and  vehicles  of 
that  order  it  produces  admirable  and  fetching  effects.  The  glaze  colors  are 
best  used  in  a  flowing  medium  of  elastic  rubbing  varnish,  especially  when 
body  surfaces  are  being  coated,  and  the  brushes  adapted  to  applying  such 
colors  are  the  1 3^ -inch  and  the  2-inch  badger  flowing  brush  or  a  soft,  half- 
elastic  bristle  brush  suited  to  the  size  of  the  panels  being  coated. 

REDS,  WINES,  AND  OTHER  COLORS  OF  THE  RED  ORDER. 

For  warmth  and  brilliancy  of  color  effects,  carmine  among  a  long  list  of 
gorgeous  reds,  is  without  a  rival.  Carmine  is  a  glaze  color  exclusively,  and 
the  splendor  of  its  radiance  is  governed  entirely  by  the  ground  color. 
Carmine,  along  with  its  near  relatives  of  the  red  order,  has  a  decided 
tendency  to  fade,  flake,  and  chij)  off.  The  ground  color,  therefore,  must,  in 
addition  to  being  faultless  in  color  density  and  surface  features,  be  possessed 
of  great  enduring  qualities.  It  may  hz  accepted  as  a  rule  worthy  of  practice 
that  the  ground  colors  for  the  general  order  of  reds  should  be  mixed  with   a 


PliACTICAL  CARULUiK  AM)    WAdO.S  PAlSTlXd.  :i9 

binder  of  varnish  sufficiently  strong  to  impart  to  them  when  dry  at  least  a 
faint  gloss — an  egg-shell  gloss,  if  it  please  my  community  of  readers.  A 
ground  so  prepared  is  fortified  to  counteract  the  fading  and  flaking  properties 
of  such  of  the  reds  as  are  used  as  glaze  colors. 

To  secure  a  first-class  job  of  light  carmine,  bring  the  surface  up  level 
and  smooth,  and  then  apply  a  coat  of  peach-blow  color,  made  of  white  and 
some  one  of  the  ordinary  reds.  Over  this  apply  a  coat  of  deep  English 
vermilion,  using  the  vermilion  stoutly  charged  with  rubbing  varni.sh. 
Polish  this  coat,  when  dry,  with  curled  hair  and  apply  a  second  coat  of  the 
vermilion,  adding  a  sufficiency  of  varnish  to  convert  the  mixture  to  the 
color-and-varnish  class.  At  the  proper  time  this  coat  should,  preferably,  be 
rubbed  lightly  with  pumice  stone  and  water.  Next  apply  a  coat  of  clear 
rubbing  varnish,  which  in  due  time  also  demands  rubbing  with  pulverized 
pumice  stone  and  water.  Then  to  rubbing  varnish,  elastic  or  quick,  hard 
drying,  as  the  size  of  the  surface  may  dictate,  add  enough  of  No.  40  carmine 
to  fully  stain  the  liquid,  say  ^  of  an  ounce  of  carmine  to  one  full  pint  of 
varnish  (many  first-class  painters  use  ]4  oz.  carmine  to  1  pint  of  varnish), 
and  apply  to  the  surface,  be  it  body  or  gear,  with  a  soft  badger  or  bristle 
brush.  For  a  less  expensive  job,  omit  the  coat  of  clear  rubbing  varnish 
and  apply  the  carmine  directly  to  the  vermilion. 

A  method  easier  lo  carry  into  execution  in  painting  a  carmine  job 
consists  in  adding  a  little  carmine  to  the  last  coat  of  vermilion  color-and- 
varnish.  This  coat  is  rubbed  with  curled  hair;  then  carmine  is  added  to 
varnish,  as  in  the  first  method,  after  which  a  .?/;/«// quantity  of  vermilion  is 
put  in  to  give  the  mixture  opacity  or  covering  power.  Clouding  and  such 
other  incidental  imperfections  to  be  considered  in  connection  with  the  work 
of  one  not  really  an  expert  in  the  manipulation  of  glaze  colors,  is  thereby 
avoided.  For  a  darker  carmine,  use  a  ground  of  flamingo  red,  carmine  red 
(a  solid  color),  road-cart  red,  Kalliston  red,  or  permanent  scarlet,  dark  shade, 
the  latter  color  requiring  a  light  vermilion  ground. 

In  applying  carmine  to  wheels,  it  is  advisable  to  flow  the  whole  wheel 
at  once,  instead  of  doing  them  in  sections,  as  by  this  practice  a  cleaner, 
clearer,  and  more  satisfactory  job  is  secured.  For  the  gear,  do  the  whole  of 
one  end  of  it  before  wiping  up,  then  the  final  end,  finishing  with  the  reach 
and  side  bars,  if  there  be  side  bars.  To  obtain  the  real  purple  and  fine  linen 
of  carmine  effects,  the  color-and-varnish  requires  to  be  flowed  on  freely  and 
quickly,  and  promptly  slicked  up.  Pottering  and  .sectional  patching  up 
invites  inferior  re.sults. 

The  vermilions,  of  which  there  is  at  present  quite  a  formidable  list, 
ranging  from  the  glaring  light  shades  to  the  glowing  dark  ones,  all  bespeak 
carefully  prepared  and  durable  grounds,  if  .satisfactory  wearing  and  appearing 
qualities  are  to  be  attained.  Vermilions  may  properly,  it  would  seem,  l>e 
classed  among  the  fugitive  colors,  and  their  retention  of  purity  of  color  is 
therefore  dependent    upon    the    grounds   employed    to   support    them.      As 


W  I'lLUTJCAL   CAlilUAdE  AM>   llVir.O.V  lAIXTJXG. 

previously  stated,  a  peach-blow  color  forms  a  good  ground  for  vermilion.  It 
should  be  made  to  dry  with  an  egg-shell  gloss  so  as  to  overcome  the  fading 
propensity  of  the  vermilion.  Then  let  the  first  coat  of  vermilion  have  a 
decided  gloss.  The  final  coat  of  vermilion  is  placed  as  color-and-varnish. 
Linseed  oil  should  not  be  used  in  vermilion,  as  it  darkens  the  color  and 
destroys  its  brilliancy.      Ditto  japan. 

The  large  class  of  modern  reds  known  under  such  alluring  titles  as 
C.  P.  red,  flamingo  red,  brilliant  coach  red,  Ottoman  red,  Kalliston  red,  etc., 
are  usually  applied  over  ground  colors  specially  supplied  by  the  manufac- 
turer. With  but  few  exceptions,  such  reds  are  used  in  this  way:  One  coat 
of  color,  one  coat  of  color-and-varnish,  "dead,"  or  kutreless,  coats  being 
carefully  avoided. 

Indian  red  in  at  least  two  distinct  shades,  pale  and  deep,  and  Tuscan 
red  in  three  shades  are  largely  used  for  running  parts  and  panel  colors  on 
certain  J7>i  dc  sicde  pleasure  vehicles,  and  they  are  painted  as  solid  colors, 
one  coat  flat  color  and  one  coat  color-and-varnish. 

In  wagon  painting,  wine  colors  in  half  a  dozen  shades  are  used.  They 
also  need  the  supporting  strength  of  very  stable  grounds.  Indian  red  and 
Tuscan  red,  of  shades  suited  to  the  shades  of  the  wine  color  afford  excellent 
ground  colors.  If  ample  time  be  at  the  command  of  the  painter,  mix  these 
grounds  with  a  binder  of  raw  linseed  oil.  For  hurried  work,  use  a  binder 
of  varnish. 

Among  carriage  painters  generally,  the  lakes  have  never  been  classed  as 
strictly  permanent  pigments.  At  the  same  time,  in  the  creed  of  modern 
carriage  and  wagon  painting  they  are  indispensable.  Of  those  probably  the 
best  known  in  the  vehicle  paint  shop,  may  be  mentioned  maroon  lake, 
Munich,  carriage  part,  permanent  scarlet,  scarlet,  red,  English  rose  lake, 
purple  lake,  carmine  lake,  and  crimson  lake. 

Maroon  lake  is  best  glazed  over  a  deep  Tuscan  red  ground;  Munich 
lake  over  ei:tra  deep  Tuscan  red  or  lampblack;  carriage  part  lake  over  the 
same  ground  as  Munich;  permanent  scarlet  over  vermilion;  scarlet  lake  over 
light  vermilion;  red  lake  over  pale  Tuscan  red;  English  rose  lake  over  extra 
deep  Tu.scan  red;  purple  lake  over  a  ground  made  of  Tuscan  red  and 
Prus.sian  blue.  Carmine  lake  furnishes  many  of  the  gleaming  and  beautiful 
effects  of  No.  40  carmine  when  used  over  such  grounds  as  are  best  adapted 
to  genuine  carmine.  Crimson  lake  is  used  over  vermilion  grounds  and 
furni.shes  a  color  of  great  warmth  and  richness. 

It  is  advisable,  when  perfecting  the  ground  for  the  lakes,  to  add  to  the 
last  coat  of  ground  color  some  of  the  lake  to  be  used  over  it,  as  a  mellowing, 
toning  ingredient.  The  non-elastic  quality  of  the  lakes  suggests  the  use  of 
elastic  rubbing  varnish  when  preparing  the  lake  color-and-varnish.  This 
will  inii)rirt  elasticity  and  adhesiveness. 

THE  YELLOWS. 

Among  the  yellows  are  many  delicate  shades  which  require  strong  basic 


PRACTICAL  CAimiAdE  A.\U   HAi.ON  F/UNTIAU.  41 

color  coats  to  support  them  properly.     In  the  painting  of  a  yellow  surface, 

be  it  of  the  most  delicate  or  the  most  powerful  shade  of   yellow,  the  initial 

coats  of  color  may  very  correctly  be  white.     Have  the  surface  smooth  and 

clean,  and  if  it  be  the  running  parts  of  the  vehicle,  and  the  priming  coat  is 

already  on,  mix  the  keg  lead  in,  .say  one-half  raw  linseed  oil  and  one-half 

turpentine,  using  a  teaspoonful  of  coach    japan  to  each  pint  of   the  paint. 

Apply  this  coat  with  an  oval    bristle  brush.     When  dry,  sand  off  lightly 

\Cith  No.  1   paper,  putty  with  white  putty  wherever  necessary,   doing  the 

work  so  .smoothly   as  to  require  no  sanding,  and  then  with  a  camel's-hair 

brush  apply  a  second  coat  of  the  white  containing  a  strong  binder  of  oil  and 

thinned  to  a  free  working  consistency  with  "turps."     Over  this  ground  most 

of  the  yellows  can  be  brought  to  the  proper  depth  and  den.s'ity  of  color  with 

two  coats  of  color  and  one  coat  of  color-and-varnish.     This  for  the  running 

parts.     Upon  body  surfaces  having  a  roughstuff  base,  wa.sh  the  keg  white 

lead  free  of  oil  with  benzine  or  turps,  adding  a  binder  of  rubbing  varnish, 

and    apply    two  coats  of    the  white    with    a    two-inch    camel's-hair   brush, 

polishing  each  coat  with  clean  curled  hair.     Then  apply  the  yellow,  using 

the  final  coat  in  the  capacity  of  color-and-varnish.     There  is  economy  of 

time,  labor,  and  pigment  in   using  a  white  ground   for   yellow.      Moreover, 

the  natural  bleaching  propensity  of  the  yellows  is  distinctly  checked  through 

the  agency  of   a  white  ground.     All  colors  in  light  shades  evince  a  natural 

tendency  to  darken  as  they  fade  and  lose  their  original  purity  of  tone.     The 

white  ground  operates  to  overcome  this  tendency,  to  arrest   this  deepening 

process,  to  hold  the  yellow  to  its  true  color;  and  it  does  this  by  reason  of  the 

fact  that  it  offers  the  yellow  a  white  base  instead  of  a  positive,  assertive  one, 

to  strike  through.     In  other  words,  the  yellow,  as  it  responds  to  the  process 

of  drying,  is  influenced  by  the  lighter  color  beneath,  the  one  counteracting 

the  other. 

That  renowned  French  authority  on  coach  painting,  M.  Arlot,  is  upon 

record  as  advising  primary  coats  of  white  lead  as  a  base  for  yellows.     The 

writer   has  personal    knowledge  of   the  value  of   white  basic  coats  Tor  the 

numerous  family  of  colors  in  question,  and  therefore  stronglj'  advises  their 

employment.     Primrose,  canary,  and  sulphur   yellow  are  among  the  most 

fashionable  of   the  pale    yellows  and  require  careful  working  out  under  the 

brush.     With  the   yellows  must  be  considered   yellow   lake.     This  is  u.sed 

only  as  a  glaze  color.     Put  over  the  solid  greens,  it  gives  to  them  depth  and 

richness.     Placed  over  Brewster  green,  for  example,  it  renders  a  particularly 

eleg£.nt  effect.     Put  over  many  of   the  brilliant  reds,  it  imparts  a   fine  and 

exquisite  effect. 

THE  BROWNS. 

In  business  vehicle  painting,  the  browns  receive  consideration.  Van- 
dyke brown,  a  warm  brown  color  inclining  to  a  reddi.sh  hue,  can  be  used  for 
one  coat  of  color  and  one  coat  of  color-and-varnish.  If  desired,  a  first,  or 
ground,  color  can  be  made  of  drop  black,  yellow,  and  red.    A  close  imitation 


42  PRACTICAL  CARRIAGE  AXD  WAiJOX  PAINTING. 

of  this  famous  brown  can,  in  fact,  be  made  of  the  three  colors  just  named. 
Vienna  brown,  a  justly  and  widely  esteemed  color  for  vehicle  bodies,  is 
a  warm,  rich  brown  and  requires  a  ground  color  of  deep,  Indian  red.  Over 
this  ground  apply  one  coat  of  color  and  one  of  color-and-varnish.  This 
brown  is  obtainable  in  two  shades,  light  and  deep.  London  smoke,  a  much 
used  running  part  color,  is  painted  solid  colcfr — one  coat  color,  one  coat 
color-and-varnish.  Burnt  Italian  sienna  and  burnt  Turkey  umber  are  like- 
wise painted  solid  colors.  As  a  whole,  the  browns,  as  colors,  are  easily 
applied  to  the  surface  and  may  be  classed  as  good  wearing  colors. 

BLACKS. 

In  carriage  painting,  the  black  surface  fairly  reigns  supreme.  At  first 
thought,  the  painting  of  a  fine  black  surface  would  seem  to  involve  a  very 
common  turn  of  trade  craft.  It  involves,  in  the  largest  sense,  a  high  grade 
of  workmanship,  rather  than  a  common  one,  this  painting  of  the  black 
surface.  Coach  black  ground  in  japan,  in  which  state  the  carriage  painter 
gets  it,  should  have  a  binder  of  varnish,  instead  of  oil,  and  should  be 
thinned  with  turps  so  as  to  spread  freely  under  a  camel' s-hair  brush  and  to 
flat  out  to  a  fine,  soft,  velvety  texture.  Easy  working,  without  brush 
marks,  is  a  paramount  virtue,  regardless  of  the  opacity  or  covering  power  of 
the  black.  A  high  grade  ivory  black  is  less  opaque,  and  consequently 
covers  less  solidly,  coat  for  coat,  than  does  the  cheaper,  but  less  lustrous, 
black.  Hence,  the  covering  power  of  a  color  can  never  be  accepted  as  a 
safe  guide  to  direct  the  thinning  of  said  color.  To  make  the  highest  quality 
of  black  to  cover  as  solidly  at  one  coat  as  an  inferior  grade  of  black  at  one 
coat  might,  would  necessitate  using  the  best  black  so  thick  as  to  invite  a 
disastrous  sweep  of  brush  marks.  More  and  thinner  coats  of  color,  minus 
brush  marks,  are  pieferable  to  fewer  and  heavier  coats  with  brush  marks  in 
plenty. 

Black  color-and-varnish,  a  popular  coating  up  and  surfacing  material 
for  vehicle  bodies  and  running  parts,  is  best  used  upon  all  the  lighter  grade 
of  bodies  by  tipping  them  so  that  the  side  panels  at  least  present  a  flat, 
upturned  surface,  the  device,  Fig.  9,  in  Chapter  I.  of  this  work,  being  used 
effectively  for  holding  such  bodies  in  position.  The  half  elastic  brush,  flat 
and  chisel  pointed,  is  the  most  availat^le  tool  for  flowing  the  color-and- 
varnish  on  bodie.s.  For  applying  the  black  color-and-varnish  to  running 
parts,  the  camel' s-hair  flowing  bru.sh  is  an  easy  and  fine  working  tool  and  is 
])rincipa]ly  used  for  that  purpose  in  many  foremost  carriage  paint  shops. 
Like  all  color-and-varnish,  the  black  variety  should  be  furnished  wilh  a 
ground  free  from  defects,  and  should  be  u.sed  simply  for  the  enrichment  of 
that  ground,  to  give  it  depth,  density,  and  an  intense  jet  black  color.  Such 
an  achievement  is  impossible  through  the  agency  of  color  coats  and  clear 
rubbing  varnish  coats,  pure  and  simple. 

WHITE. 

The  application  of    wnite  to  a  surface  and    the  development  of  a  solid 


PBACTJCAL   CAltlilAdbJ  AXD   \\A(i<jy  I'AlXTiya.  4.1 

white  job  thereby  is  certainly  one  of  the  highly  skilled  features  of  the  trade. 
The  most  fitting  reference  to  white  would  seem  to  be  best  made  by 
describing  the  method  used  in  painting  and  finishing  a  vehicle  surface  in 
white. 

First  clean  the  wood  thoroughly,  removing  all  stains,  discolorations, 
etc.  Then  carefully  brush  on  a  coat  of  raw  linseed  oil.  Seek  to  have  a 
uniform  film  of  the  oil  over  all  parts  of  the  surface.  When  the  surface  is 
ready  to  recoat,  make  sure  by  a  careful  inspection  of  it  that  all  parts  are 
sufficiently  well  sandpapered.  Then  apply  a  coat  of  white  keg  lead  mixed 
y^  oil  to  5  8  turps,  with  a  teaspoonful  of  pale  japan  added  to  each  quart  of 
the  mixture.  The  second  coat  of  white  is  best  mixed  with,  say  about  8-lG  of 
oil  to  13-1()  of  turps.  This  quantity  of  oil  suffices  to  give  the  white  a  stout 
binder  without  affecting  the  purity  of  the  white.  Puttying  and  whatever 
putty  glazing  is  necessary  should  be  done  on  the  first  coat  of  white.  Make 
the  putt}'  of  dry  white  lead  mixed  to  the  proper  consistency  in  very  pale 
rubbing  varnish,  1  part;  gold  size  japan,  2  parts.  For  stopping  holes,  the 
putt)'  needs  to  be  a  good  bit  stiffer  than  when  used  for  the  general  run  of 
disfigurements;  for  glazing,  thin  to  the  desired  consistency  with  turps. 
Sandpaper  lightly  and  then  mix  Florence,  flake,  or  cremnitz  white  to  a 
consistency  that  will  render  the  color  free  working  under  a  half  elastic,  soft 
bristle  brush,  using  turps  for  the  thinner,  and  hard  drying  finishing  varnish 
for  the  binder.  Apply  two  coats  of  this  color,  taking  due  care  to  have  the 
color  laid  smooth  and  free  from  brush  marks.  Then  take  the  hard  drying 
finishing  varnish  and  add  to  it  enough  of  the  white  to  "kill"  the  yellowish 
amber  color  of  the  varnish,  and  flow  on  a  full,  free,  uniform  coat.  When 
dry,  rub  with  pulverized  pumice  stone  and  water,  clean  up  thoroughly,  and 
apply  a  second  coat  of  the  color-and-varnish.  Rub  and  clean  up  as  before, 
and  apply  a  third  coat.  This  coat  will  prolmbly  suffice  to  furnish  a  solid  and 
pure  white  surface,  fine  and  smooth,  and  of  becoming  lustre.  If  the  job  is 
to  go  with  a  full  varnish  gloss,  and  striping  or  other  ornamenting  is  desired, 
it  can  be  done  on  this  finishing  coat,  and  pencil  varnished. 

In  case  gold,  silver,  aluminum,  or  other  leaf  is  used  in  ornamenting, 
the  finish  should,  preferably,  be  done  in  a  simple  gloss  or  flat,  as  it  will  be 
found  extremely  difficult  to  succes.sfully  apply  leaf  over  a  finished  surface  of 
high  lustre.  If  the  finish  is  to  be  gloss  or  flat,  give  the  last  coat  of  varnish 
adequate  time  to  dry  hard,  say  ten  days  at  least,  and  then  first  rub  with 
pumice  stone  and  water,  wash  and  dry  up  carefully,  after  which  rub  with 
rotten  stone  and  sweet  oil,  using  a  piece  of  chamois  skin  for  the  rubbing  pad. 
In  rubbiny:,  avoid  heating  the  varnish,  otherwise  a  roughened,  shredded 
surface  will  result.  For  cleaning  up  the  oil  and  rotten  stone,  dust  wheat 
flour  or  pulverized  slippery  elm  over  the  surface,  flick  off  with  a  soft  duster, 
and  wipe  dry  with  a  clean  piece  of  silk.  In  the  painting  and  finishing  of  a 
white  surface,  the  subjoined  rules  hold  good: 

Avoid  using  thecolor  too  thick.    Thiiuier  coats  and  more  of  them  are  best. 


44  I'liACTlCAL  CARlilAdE  AM)  WAGON  PAIXTINQ. 

After  the  first,  or  priming,  coat,  use  as  sparingly  of  oil  as  possible.  Oil 
produces  -'yellowing"  of  the  white. 

Abstain  from  the  use  of  zinc  white  or  damar  varnish  altogether.  They 
are  alike  shifty  and  unreliable  as  applied  to  the  processes  of  carriage  and 
wagon  painting. 

Care  should  be  observed  to  keep  the  surface  flawless  and  perfectly  clean. 
To  this  end,  clean  apartments,  clean  brushes,  chamois  skins,  sponges,  etc., 
may  be  classed  as  imperative  necessities. 

The  Florence,  flake,  or  cremnitz  white  above  recommended  should  be 
used  in  the  painting  of  all  first-class  white  surfaces.  Ordinary  white  lead  is 
advised  only  when  the  cheaper  grade  of  white  surfaces  is  desired. 

If  broad,  flat  surfaces  are  to  be  painted  and  a  strictly  first-class  job  is 
demanded,  a  roughstuff  will  be  necessar3\  P^ormulas  lor  roughstuff  or 
white  filler  are  as  follows: 

Formula  No.  1. — Dry  white  lead,  yi;  whiting,  yi.  Liquids,-  pale 
rubbing  varnish,  yi;  turpentine,  ^,^;  gold  size  japan,  yi  gill. 

Formula  No.  2. — Drj'  white  lead,  1  part;  pulverized  soapstone,  2  parts; 
pulverized  pumice  stone,  1  part.  Liquids,  rubbing  varnish,  1  part;  turpen- 
tine, 1  part;  tablespoonful  of  gold  size  japan  to  each  quart  of  the  filler  when 
mixed. 

Formula  No.  3. — Dry  white  lead  mixed  to  a  thick  paste  in  Yi  pale 
rubbing  varnish  and  -3  gold  size  japan.  Reduce  to  a  brushing  consistency 
with  turps. 

Apply  one  coat  of  either  of  the  above  fillers  per  day  and  regulate  the 
number  of  coats  to  suit  the  condition  of  the  surface.  To  the  final  coat  add 
a  little  lemon  yellow  as  a  guide  in  rubbing  out.  A  dash  of  pulverized 
pumice  stone  may  also  be  given  the  'stuff  (especially  that  made  by  the  third 
formula;  to  make  it  surface  free  and  clear  under  the  rubbing  stone.  In 
rubbing  out,  "eternal  vigilance"  and  plenty  of  care  and  caution  are  factors 
01  the  utmost  importance,  if  scratching  and  disfiguring  the  surface  would 
be  avoided.  Then  over  this  rubbed  surface  apply  flat  coats  of  the  white, 
reiniorced  with  a  binder  of  hard  drying  varnish,  following  with  color-and- 
varnir^h  and  other  finishiiig  processes  as  above  directed. 

While  roughstuff  must  continue  to  be  recognized  as  a  necessity  in  the 
development  of  white  surfaces  of  certain  grades,  sizes,  and  forms,  the 
painter,  in  so  far  as  possible,  may  well  decide  to  discard  its  employment 
solely  owing  to  a  lack  of  durability  as  compared  to  the  regulation  method  of 
building  up  with  color  and  color-and-varnish  coats  to  a  .solid  and  firmly- 
welded  finish. 

There  is  another  method  of  painting  white  practiced  by  many  first-class 
painters,  which  was  first  published  in  Varnish  and  written  by  that 
reliable  and  experienced  authority,  Mr.  J.  G.  Cameron.  It  consists  of 
priming  the  wood  with  the  best  white  lead,  mixed  with  as  much  oil  as  the 
wood  will  absorb,  and  turpentine.     This  is  given  five  days  in  which  to  dry. 


PRACTICAL   (AinUAdE  AXI)   MM^O.V   I'MSTlXa.  45 

Then  white  lead  is  made  up  to  dry  with  a  gloss,  and  two  coats  of  the 
mixture  is  given,  with  an  interval  of  one  day  between  coats.  The  surface 
is  then  puttied  with  a  putty  made  of  white  keg  lead,  dry  white  lead  and 
whiting,  equal  parts  by  bulk,  and  japan.  The  putty  used  for  knifing  in  is 
made  softer  than  that  used  for  stopping  holes  and  cavities.  The  putty  is 
given  one  day  to  harden.  Then  a  filling  composed  of  keg  lead,  1  part; 
whiting,  1  part;  flour  of  pumice  stone,  1-5  part;  made  into  a  stiff  glazing 
pigment  with  japan  and  a  small  percentage  of  turpentine,  is  brushed  over 
the  surface,  a  second  workman  following  with  a  broad  putty  knife  and 
skillfully  removing  the  superfluous  filler.  This  glazing  is  intended  only  for 
panels  and  flat  work  generally.  Permit  this  filling  to  dry  forty-eight  hours. 
It  is  then  rubbed  lightly  with  pumice  stone.  Moldings  and  carved  work  are 
sandpapered.  Next,  to  5  lbs.  of  white  keg  lead,  highest  quality,  3^  pint  of 
good  wearing  body  varnish  that  dries  quickly  and  reliably  is  added.  The 
mass  is  then  thinned  with  turps  and  strained.  This  dries  to  a  little  more 
than  an  egg-shell  gloss.  Five  coats  of  this  color  are  applied  on  five  consecu- 
tive days,  no  rubbing  or  sandpapering  being  done  between  coats.  This 
foundation  of  white  is  given  a  week,  to  harden,  after  which  it  is  thoroughly 
rubbed  down  with  about  No.  \%  pulverized  pumice  stone.  It  is  then 
allowed  to  stand  two  days  belore  being  polished  and  cleaned  up  with  flour  of 
pumice  stone.  A  coat  of  high  grade  and  practically  colorless  finishing 
varnish  (now  procurable  of  the  leading  varnish  makers)  is  now  flowed  on 
and  the  work  is  complete.  The  color  for  the  five  coats  is  made  up  at  one 
time,  so  that  it  dries  and  hardens  equally  and  uniformly  throughout.  Mr. 
Cameron  vouches  for  the  durability,  fullness,  and  solidity  of  a  White  surface 
painted  by  this  method,  having  employed  it  in  painting  hundreds  of  street 
cars,  in  addition  to  a  great  many  hearses,  delivery  wagons,  etc.  It  is  a  well- 
known  practical  fact  that  a  first-class  finishing  varnish  and  white  lead  care- 
fully mixed  solidifies  amazingly  throughout.  And  the  one  coat  of  very  pale 
or  colorless  finishing  varnish  over  all  produces  the  effect  of  a  high  grade 
finish. 


CHAPTER  VI. 

APPLYING  RUBBING  VARNISH— SURFACING  VARNISH— CARE  OF  THE 
FINISHING  ROOM  WASHING  THE  RUBBED  SURFACES— FLOWING 
THE  FINISHING    COAT. 

ONE  well-known  varnish  maker  has  said  that  the  marvelous  thing 
about  carriage  varnish  is  that  it  must  be  one  garment  suited  to  all 
kinds  of  weather.  As  a  material  destined  to  shine  in  the  public  eye, 
its  proper  manipulation  and  treatment  is  manifestly  of  the  first  importance  to 
the  carriage  painter.  No  other  material  with  which  the  painter  has  to  do  is 
so  sensitive  to  the  robust  variety  of  influences-  constantly  attacking  it  as 
varnish.  The  virtues  of  a  first-class  varnish  which  add  to  its  durability,  in- 
crease its  brilliancy,  and  in  other  ways  enhance  the  beauty  of  a  surface  over 
which  it  is  used  are  the  ones  that  impart  to  it  a  peculiar  sensitiveness  char- 
acteristic of  no  other  material.  Briefly,  then,  we  may  sum  up  the  task  of 
applying  and  manipu'ating  varnish  upon  a  carriage  surface  as  a  delicate 
job.  A  workman  of  fine  notions,  intelligent,  painstaking  and  highly  skilled 
in  the  handling  of  the  proper  tools,  is  the  only  successful  varnisher.  Such  a 
workman  is  required  to  get  all  that  is  true  and  fine  and  lasting  and  lovely 
out  of  the  employment  of  varnish.  In  the  varnishing  of  a  vehicle  the  first 
kind  of  varnish  we  are  required  to  use  is  rubbing  varnish.  The  duty  of 
putting  on  rubbing  varnish  is  less  difficult,  practically  considered,  than  that 
of  flowing  the  finishing  coat,  but  rubbing  varnish  bespeaks  deft  and  skillful 
handling.  The  first  coat  of  rubbing  demands  to  be  applied  quite  as  pre- 
cisely, and  with  the  same  thoroughness  as  to  details,  as  would  mark  the  ap- 
plication of  any  of  the  later  coats.  In  the  application  of  the  first  and  second 
rubbing  coats  to  body  surfaces,  the  bodies,  when  of  a  build  to  permit  of  the 
practice,  should  be  tipped  so  as  to  offer  a  flat,  upturned  surface,  a  device  for 
holding  the  bodies  in  this  position  having  been  illustrated  in  Chapter  I. 
Fuller  and  finer  rubh)ing  coats  may  be  flowed  on  when  the  bodies  are  tipped. 
Tipping  of  all  the  lighter  forms  of  vehicle  bodies  is  practiced  in  leading 
shops  when  applying  the  first  and  second  rul)bing  coats. 

The  writer,  therefore,  advises  observance  of  the  practice  in  even  the 
smallest  of  shops.  There  is  less  chance  for  bru.shmarks  and  other  defects 
manifesting  themselves.  With  the  heavily  flowed  on  rubbing  coats,  the 
round,  full  surface  which  distinguishes  the  product  of  the  best  varnish  rooms 
is  obtained  at  a  less  expenditure  of  time  and  labor,  than  when  the  thinner 
coats  are  employed.     I  would  suggest  the   full,  heayy  rubbing  coat  as  the 


•    PRACTICAL  CAHKIAdE  AXn   WAdOX  I'MXTIXG. 


most  effective  aid  in  avoiding  brushmarks  and  in  drowninj^  out  tlie  dust 
motes  and  flocculent  matter  to  be  noted  as  part  and  parcel  of  the  skimpy 
brushed  on  coat  of  varnish.  The  modern  ethics  of  carriage  painting  affirms 
the  excellence  of  heavy  rubbing  coats  of  varnish  as  the  most  enduring  base 
for  heavy  finishing  coats. 

The  final  rubbing  coat  may  best  be  applied  with  the  vehicle  bo<ly  occu- 
pying its  natural  position  or,  ratlier,  the  position  it  is  to  occupy  when  the 
coat  of  finishing  goes  on.  This  is  the  coat  that  is  depended  upon  to  reflect 
the  outline  and  round  out  the  fullness  of  the  finishing  varnish.  The  neces- 
sity of  its  being  perfect  in  all  the  respects  that  it  is  possible  to  make  a  rub- 
bing coat  of  varnish,  is,  therefore,  apparent.  The  fact  that  varnish  goes  on 
pretty  nearly  everything,  bright- 
ens it,  keeps  it  clean  and  clean- 
able,  covers  it,  takes  the  wear, 
prolongs  its  life,  and  increases  its 
beauty  and  usefulness,  furnishes 
the  carriage  painter  with  a  sub- 
stantial reason  for  insisting  upon 
having  his  rubbing  coats,  from 
first  to  last,  deftly  placed  and 
shrewdly  balanced. 

THE  SURFACING  OF  RUBBING 
VARNISH. 

When  a  rubbing  varnish  has 
been  given  the  full  limit  of  time 
recommended  by  the  manufac- 
turer in  which  to  harden,  sur- 
facing should  ensue.  To  permit 
such  varnish  to  remain  unpro- 
tected from  the  atmospheric 
impurities  common  to  the  aver- 
age paint  shop  may  be  accepted 
as  an  actual  detriment  to  the  durability  of  the  surface.  The  gums  used  in 
rubbing  varnish  and  which  unite  to  give  it  a  surfacing  property  render  the 
varnish  when  spread  upon  a  surface  peculiarly  susceptible  to  the  attacks  ot 
all  forms  of  impurities.  Hence  the  necessity  of  surfacing  the  rubbing  coats 
as  soon  as  they  have  been  given  adequate  time  to  harden.  The  supporting 
strength  and  ability  of  such  coats  are  thereby  promoted. 

To  surface  varnish  correctly  and  at  the  minimum  outlay  of  time,  it  is 
needful  that  a  serviceable  equipment  of  tools  be  furnished  the  workman. 
This  should  consist  of  at  least  two  good  pails  (galvanized  iron  pails  are 
probably  the  most  economical),  half  dozen  good,  soft  sponges,  a  water  tool, 
and  a  few  first-class  chamois  skins,  in  addition  to  plenty  of  rubbing  pads. 
Rubbing  pads  are  often  shop  made  from  waste  cuttings  of  broadcloth  or  felt, 


Varnish  Stand 

As  used  in  some  factory  shops. 


48  PRACTICAL  CARIUAdE  AM)  WAdOX  PAINTING. 

the  strips  being  rolled  into  cylindrical  form  or  fastened  around  blocks  of 
wood.  However,  the  most  effective  rubbing  pads  are  procurable  direct  froni 
the  manufacturers  and  come  in  the,  form  of  thick  perforated  pads,  running 
in  thickness  from  ^  to  1  inch,  and  in  size  from  2x3  inches  to  3x4  inches. 
These  perforated  pads  serve  to  free  the  surface  from  that  part  of  the  pulver- 
ized pumice  stone  which,  during  the  process  of  rubbing,  has  become  inert 
and  a  hindrance  to  the  leveling  efforts  of  the  workman. 

In  surfacing,  pulverized  pumice  stone  of  the  0  or  00  grade  of  fineness  is 
best. 

The  water  supply  is  an  important  factor  in  varnish  surfacing,  soft  water 
being  a  highly-valued  essential.  A  surface  cleans  up  better  with  soft  water 
than  when  the  water  used  is  hard.  If  plenty  of  soft  water  is  not  forthcom- 
ing, add  a  little  soda  to  the  water,  say  a  teaspoonful  of  soda  to  an  ordinary 
pail  of  water.     This  will  reduce  the  harshness  of  the  water. 

The  actual  work  of  rubbing  or  surfacing  varnish  may  be  classed  as  an 
art.  The  first  class  varnish  rubber  is  really  an  accomplished  mechanic.  Be- 
fore beginning  to  rub  a  surface,  first  rinse  it  off  with  clean  water.  This  by 
way  of  a  precaution.  Then  dip  the  rubbing  pad  first  lightly  into  the  water 
to  moisten  it,  and  then  into  the  pumice  stone,  thus  carrying  it  to  the  surface 
where  with  light  pressured  sweeps  it  may  be  spread  over  a  certain  part  of 
the  surface.  Rub  lightly  at  first,  gradually  increasing  the  pressure  until 
the  necessary  force  is  reached.  First  rub  the  outside  edges  of  a  panel  and 
the  mouldings,  if  any,  finishing  up  the  central  part  last.  It  will  be  found 
easier  to  get  the  center  of  a  panel,  or  of  a  given  portion  of  a  surface,  rubbed 
sufficiently  than  to  get  the  outer  edges  of  it  done.  If  a  large  surface  is  being 
rubbed,  first  rub  a  certain  space  for  a  time  and  then  shift  to  a  new  space, 
thus  avoiding  the  possibility  of  unduly  heating  the  surface.  Alternate  be- 
tween the  two  spaces  until  the  desired  reduction  of  the  surface  has  been 
reached.  Upon  surfaces  which  admit  of  carrying  the  rubbing  strokes  to  the 
extreme  end  of  the  panel,  the  rubbing  strokes  being  always  directed  length- 
wise of  the  panel,  do  not  cross  rub  at  the  ends.  Cross  rubbing  at  panel  ends 
is  invariably  shunned  by  first-class  factory  varnish  rubbers,  and  these  spe- 
cialists are  deservedly  classed  as  artists  in  their  line.  For  example,  upon 
piano  box  bodies  the  strokes  are  carried  quite  to  the  end  of  the  panel,  with 
no  cross  brushing  tolerated.  First  coatings  of  varni.sh  do  not  invite  very 
clo.se  surfacing.  The  second  coat  permits,  and  should  receive,  the  solid  and 
close  surfacing.  The  final  rubbing  coat  should  properly  require  only  a 
moderate  degree  of  surfacing  to  make  it  fit  to  hold  out  the  finishing  coat 
with  becoming  comeliness.  Avoid  using  too  much  pumice  stone,  too  much 
water,  or  too  much  pressure  on  the  pad;  in  a  word,  avoid  excesses.  Pumice 
stone  and  water  should  not  be  allowed  to  dry  upon  the  surface.  It  is  a 
hazardous  practice.  Have  plenty  of  clean  water  at  hand  and  wash  the  sur- 
face up  tidily  as  fast  as  the  rubbing  proceeds.  Adhere  to  uniformity  and 
thoroughness    in    surfacing.     The   surface    rubbed    more   closely    in   some 


PRACTICAL  CAlililAdE  AM)   WAHOS  I'MSriM!. 


49 


places  than  in  others,  and  not  rubbed  sufficiently  thorouj^h  as  to  corners, 
border  spaces,  etc.,  bears  the  unmistakable  imprint  of  the  bungler's  rude 
hand.  Prt)bably  this  rule  of  uniformity  and  thoroughness  is  the  most  diffi- 
cult for  the  beginner  to  accjuire.  It  really  covers  nearly  the  whole  range  of 
the  art  of  fine  surfacing.  When  one  has  mastered  the  feat  of  rubbing  a  sur- 
face to  the  same  uniform  depth  of  film,  missing  never  a  modest  slip  on  mold- 
ing, around  bolt  head,  or  other  easily  overlooked  space,  he  has  earned  the 
rig^ht  to  strive  for  the  expert's  rank. 

The  surface  once  rubbed,  washing  up  must  needs  follow.  The  work- 
man cannot  be  too  greatly  impre.s.sed  with  the  importance  of  this  branch  of 
the  work.  Thorough  washing  must  necessarily  accompany  thorough  rul)- 
bing;  otherwise,  the  efforts  of  the  rubber  go  for  naught.  To  insure  clean 
washing  of  the  surface,  clean  tools  must  be  maintained.  The  chamois  skins, 
sponges,  wash  brushes,  etc. ,  require  storage  in  some  dust- 
proof  receptacle.  This  may  be  in  the  form  of  a  cupboard 
or  small  closet,  or  a  bag  made  of  light  rubber  cloth  and 
provided  with  a  shirring  string.  Wash  these  articles  often 
in  soap  and  water,  rinsing  carefully  in  clean  water  after 
applying  and  rubbing  in  the  soap.  This  method  will  aid 
to  keep  them  clean.  With  clean  pails,  clean  water,  and 
clean  washing  and  drying  tools,  the  task  of  washing  a 
surface  preparatory  to  varnishing  is  deprived  of  man.y  of 
its  menacing  features.  The  final  washing  up  should,  in 
fcvery  instance,  be  performed  with  a  pail,  brush,  chamois 
.skin,  and  sponge  kept  expressh'  for  that  purpose  and  used 
for  no  other.  Always  keep  in  store  a  sponge  and  chamois 
skin  to  be  used  especially  for  washing  and  drying  out  the 
inside  of  vehicle  bodies.     Another  set,  .separate  and  inde- 


Varnish  Stand 
No.  2. 

Standiird    '.j-inch 
iron,    three -pronged 

pendent  of  the  others,  should  be  devoted  solely  to  washing  ■]"inc'hi"s^hly'h.  Quici" 

ly  made  by  liny  black- 
smith.     Top 
IU.\10ini-hes. 


Top  of  stand 


and  drying  up  vehicle  running  parts  for  the  varnisher.  smith 
In  cleaning  up  a  carriage  body  for  varnishing,  first  wa.sh 
out  the  inside  surface,  tooling  out  all  the  corners,  etc.,  with  the  water  tool. 
Then  apply  plenty  of  water  to  the  outside,  washing  the  sill  and  border  of  the 
under  surface  of  the  body  fully  as  free  and  clean  as  the  more  expo.sed  parts. 
Thoroughl}'^  tool  around  all  bolt-heads  or  other  parts  which  offer  a  lodgment 
for  atoms  of  pumice  stone.  After  tooling  about  such  .surface  fixtures,  follow 
immediately  with  a  sponge  well  loaded  with  water,  thus  flooding  out  the 
loosened  accumulations  of  gritty  matter.  The  body  being  finally  washed 
clean,  top,  bottom,  inside,  and  out,  dry  up  carefully  with  the  chamois  skin, 
and  then  at  once  set  away  in  that  .sacred  place,  the  varnish  room. 

To  summarize  the  features  of  surfacing  varni.sh,  note:   First,  Use  roll  or 
blocked  broadcloth  or  felt  rubbing  pads. 

Second.   Direct  the  rubbing  strokes  all  in  one  direction,  and  lengthwi.se 
of  the  panel. 


GO  I'liACTirAL   (  AliUlA(,E  AM)   WA(i(J.\  rAIXTLXf,. 

Third.  Avoid  excessive  use  of  pumice  stone  or  water,  and  indulge  in 
not  too  heavily  applied  pressure  of  the  rubbing  cloth.  Moderate  pressure, 
uniformly  sustained,  is  the  correct  practice. 

Fourth.  Maintain  constantly,  and  at  all  times,  a  conspicuously  clean 
washing  up  kit;  and  in  washing  the  surface  do  not  stop  short  of  having  it 
unmistakablj'  and  shiningh'  clean. 

Thereby  hangs  the  tale  of  fine  varnishing  made  easy. 

If  jobs  are  rubbed  out  of  varnish  and  allowed  to  stand  over  night  before 
being  varnished,  a  final  light  rubbing  should  be  given  the  surface  just  pre- 
vious to  applying  the  varnish.  A  surface  when  rubbed  and  .stood  aside  for 
a  short  time  takes  on  a  scum  which,  if  not  removed,  is  fatal  to  good  varnish- 
room  results.  This  scum  is  said  to  be  caused  by  the  oxidation  of  the  float- 
ing matter,  from  the  oxide  contained  in  it  and  the  oxygen  in  the  atmosphere. 
The  scum  acts  in  the  nature  of  a  deadly  blight  upon  the  varnish  applied 
directly  upon  it,  begetting  many  of  what  are  commonly  known  as  the  de- 
pravities of  varnish.  Rotten  stone  applied  and  rubbed  under  a  piece  of  car- 
riage head-lining  broadcloth  makes  an  excellent  polish  to  remove  all  scum 
from  the  surface. 

FLOWING  THE  FINISHING  COATS. 

To  accomplish  high  grade  finishing,  certain  varnish  room  conditions 
must  prevail.  The  varnish  room  must  have  plenty  of  light,  ventilation, 
warmth,  and  dryness  of  atmosphere.  Cleanliness  must  abound; — personal 
cleanliness,  room  cleanliness,  and  cleanliness  of  stock  and  tool  equipment. 
Ventilation  and  light  have  already  been  alluded  to.  To  .sweep  the  varnish 
room  floor,  first  profusely  sprinkle  with  well  dampened  sawdust,  and  begin- 
ning at  one  side  sweep  in  a  windrow.  Do  not  use  much  water  upon  the 
varnish  room  floor,  unless  it  should  chance  to  be  a  perfectly  tight  floor  and 
fit  to  be  mopped  out  occasionally.  Then  the  mopping  out  should  occur 
upon  days  when  there  is  to  be  no  varnishing  done  in  the  department,  A 
thermometer  to  register  the  heat  and  a  hygrometer  to  register  the  humidity 
should  be  inseparable  inmates  of  the  varnish  room. 

A  cupboard  .set  in  even  with  the  wall  or  partition  of  the  room  should 
contain  clean  cups,  strainer,  dusters,  along  with  the  brushes  in  their  air- 
tight keepers.     Maintain  a  uniform  temperature  of  from  75°  to  80°  Fahr. 

Insist  upon  the  surfaces  and  the  varnish  to  be  applied  to  them  being  of 
the  same  degree  of  temperature.  In  this  way  only  will  varni.sh  work  at  its 
best. 

Remove  the  .stopper  from  the  varni.sh  can  a  short  time  prior  to  begin- 
ning to  varnish.  This  allows  for  the  escape  of  certain  ga.ses  generated  in 
the  varnish  can. 

Although  the  varnish  maker  may  declare  his  varnishes  do  not  need 
straining  it  is  really  the  safer  rule  to  strain  all  the  finishing  varnish  hciore 
using.     A  majority  of  finishers  in  our    best  shops  persist  in  the  practice. 


PRACTICAL  CAliliJA(;E  AM)   WAdOy   /M/.V77.\V;. 


51 


Patent  strainers  are  now  on  the  market  adopted  for  this  very  purpose. 
Cheesecloth,  cut  in  squares  and  drawn  over  funnel-shaped  tins,  serves  as 
cheap  and  quickly  arranged  strainers.  % 

Be  thorough  and  painstaking  in  dusting.  After  the  first  du.sting  go 
over  the  surface  with  a  piece  of  silk.  Next,  give  all  spots  rubbed  through, 
or  which  promise  to  show  badly  under  the  varnish,  a  dash  of  color,  innne- 
diately  slicking  these  color  patches  over  with  a  small  piece  of  cotton  rag. 
Now  varnish  the  inside'of  the  body,  having  previously,  of  course,  rubbed  or 
mossed  off  this  part  of  the  job,  as  the  desired  quality  of  the  finish  may  dic- 
tate, and  dusted  it  carefully.  The  inside  surface  being  finished,  again  dust 
the  outside  surface.  Then  for  the  final  dusting  take  a  round  or  oval  duster, 
kept  expressly  for  the  purpose,  and,  moistening  the  hollow 
of  the  left  hand  with  a  little  finishing  varnish,  flick  the 
point  of  the  duster  over  this  to  furnish  it  with  a  dust 
attraction  property,  after  which  proceed  at  once  to  dust 
carefully  the  .surface  to  be  varnished. 

The  surface  now  being  ready  to  finish,  remove  the 
brushes  from  the  keeper,  fill  the  varnish  cup  one-third  full 
of  the  strained  varnish,  and  follow  this  modus  opcra7idi, 
assuming,  for  example,  the  job  to  be  of  the  piano  box 
pattern:  With  the  1-inch  badger  hair  brnsh  lay  the  var- 
nish along  the  bottom  of  the  main  panel,  then  across  both 
ends,  and  lastly,  along  the  top,  taking  in  the  seat  ri.ser 
while  flowing  the  top  edge.  Then  with  the  2 '4 -inch  brush 
flo'co,  not  brush,  the  varni.sh  over  the  main  surface  .space. 
Hold  the  brush,  in  flowing,  rather  flat.  Keep  it  well 
charged  with  varnish,  and  pass  it  lightly  and  with  a  steady 
stroke  from  one  end  of  the  panel  to  the  other,  applying 
and  laying  off  with  horizontal  strokes -of  the  brush.  PVom 
the  brush  held  and  directed  in  this  way  the  varnish  flows 
Thermometer  —  ^^^^^  ^"^^  ^'^^^  upon  the  surface,  the  distribution  being  more 
T.!'.''v,^*™'**''  ''°°'"  even  and  uniform,  and  less  cross  brushing  becoming,  there- 
fore,  assured.  When  the  finishing  brush  is  held  at  a  steep 
angle,  or  in  such  a  way  that  the  points  of  the  bristles  are  forced  to 
mainly  do  the  work,  the  varnish  is  whipped  into  motion  to  a  harmful  ex- 
tent, requiring  thereby  more  manipulation  with  the  brush  to  get  it  evenly 
placed,  and  consequently  destroying  .some  of  its  natural  fullne.^s  and  bril- 
liancy. The  chief  aim  of  the  carriage  finisher  is  to  so  first  flow  his  varnish 
that  the  minimum  outlay  of  cross  bru.shing  and  dressing  up  will  suffice,  to 
the  end  that  the  varnish  may  be  disturbed  as  little  as  possible,  thus  .securing 
that  depth  of  lustre  and  mirror-like  effects  so  greatly  cherished  by  all  first- 
class  finishers. 

In  varni.shing  piano  style  bodies  and  surfaces  of  clo.se  kith  and  kin  to 
such,  flow  at  least  one  side  and  an  end  before  cross  brushing  and  laying  off. 


52 


PRACTICAL  CAlllilAi^E  AM)  WAdOX  I'MXTIXa. 


The  varnish,  by  this  method,  is  given  time  to  take  on  a  bit  of  "tack,"  as  it 
were,  and  in  cross  brushing  a  less  quantity  is  removed  than  would  be  the 
case  if  crogs  brushing  were  to  follow  directly  upon  completion  of  flowing  the 
panel.  After  cross  brushing  and  laying  off,  "catchup"  the  edges  and  all 
other  places  where  the  varnish  is  liable  to  start  into  a  run  or  an  overflow. 

In  varnishing  surreys,  phaetons,  and  jobs  of  that  order,  and  larger,  the 
varnisher  should  determine  the  amount  of  space  he  may  flow  before  return- 
ing to  cross  brush,  by  the  working  qualities  of  his  varnish,  room  tempera- 
ture, and  the  prevailing  circumstance  at  the  time  of  varnishing. 

After  cross  brushing,  go  over  the  panel  but  once  in  laying  off.     As  be- 
fore stated,  and  as  expert  carriage  finishers  everywhere 
will  assert,  the  less  brushing  and  disturbing  of  varnish, 
once  it  is  flowed  on  the  surface,  the  finer  the  body  and 
brilliancy  of  the  finish. 

To  become  an  expert  body  finisher  the  workman 
should  possess  varnish  intelligence.  He  should  know 
how  to  keep  cool;  be  an  absolute  stranger  to  varnish 
fright,  never  lacking  for  confidence  or  ability  to  success- 
fully meet  and  master  emergencies  as  the}-  arise.  The 
art  of  varnishing  cannot  be  acquired  in  a  day,  or  an 
hour,  or  simply  by  a  studious  perusal  of  carefully 
worded  directions.  These  serve  as  a  working  draft, 
but  must  be  supplemented  by  long-continued  practice, 
and,  in  case  of  carriage  body  finishing,  coupled  with  a 
natural  aptitude  for  the  work. 

VARNISHING  RUNNING  PARTS. 

The  running  parts  of  a  vehicle  having  rounded  sur- 
faces are  more  easih'  made  to  .shine  fine  and  mirror-like 
than  are  the  body  surfaces.  However,  the  varnishing 
of  running  parts  ma}-  rightfully  be  classed  a  highly 
skilled  operation.  Washing  up  and  cleaning  the  run- 
ning parts  preparatory  to  varnishing  is  a  difhcult  task. 
Around  clips,  bolt  heads,  axle  ties,  etc.,  pumice  stone 
and  dirt  accumulations  cling  tenaciously,  and  thorough  tooling  with 
the  wash  brush  and  plenty  of  water  is  needed  to  fit  such  parts  for  varnish- 
ing. After  washing,  and-  once  du.sting  over  the  running  parts,  touch  with 
color  all  reaches  of  surface  requiring  it.  When  color  patches  are  dry  take  a 
second  duster,  kept  for  this  one  dusting  only,  flip  it  lightly  over  the  varnish- 
moistened  left  palm,  and  go  over  the  surface  carefully.  If  a  particularly  fine 
job,  pass  over  the  surface  with  the  palms  of  the  hands,  having  previously 
given  them  a  slight  wetting  with  the  finishing  varnish.  This  method  illus- 
trates the  power  of  magnetic  influence,  and  catches  up  flotillas  of  dust  motes 
which  the  duster  would  possibly  di.sturb,  Init  not  remove.  In  finishing  the 
gear  begin  at  the  front  axle  and  proceed  to  flo.v  the  whole  front  end  before 


Varnish  Strainer. 

Published  by  permls- 
-sion  of  -The  Carriai;e 
Moullilv." 


PRACTICAL   (■MnilA(;E  AM)    WAIIOS  l'Al\'J'L\(;.  53 

wiping  up.  This  gives  the  varnish  a  chance  to  take  its  position  on  the  sur- 
face, and  the  wiping  up  serves  to  level  out  the  inequalities  nid  remove  the  sur- 
plus. After  the  front,  the  rear,  then  the  reach,  and  la.st  the  side  bars,  i( 
any.  A  brush  should  be  kept  solely  to  wipe  up  the  underside  of^xles,  head 
blocks,  spring  bars,  side  bars,  etc.  In  many  factory  .shops  the  finishers 
wipe  such  parts  with  the  palm  of  their  hand.  The  varnish  drippings  are 
thus  caught  by  the  hand  and  distributed  in  the  form  of  a  glaze  to  the  parts 
in  question. 

In  varnishing  wheels,  which  are  always  included  in  the  term  running 
parts,  slip  the  wheel  upon  the  revolving  jack  and,  standing  with  the  left  side 
nearest  the  wheel  and  partly  facing  it,  begin  by  flowing  the  sitles  and  face 
of  the  spokes,  reaching  the  brush  well  over  to  the  back  surface  of  the 
spokes.  Then  flow  front  of  hub.  Next  the  inside  and  face  of  the  felloe. 
Now  whirl  the  wheel  so  that  its  rear'surface.  takes  the  place  of  the  front. 
Catch  up  and  close  in  with  varnish  all  strips  on  the  rear  surface  of  spokes 
not  flowed  when  the  sides  were  done.  Then  flow  rear  of  hub,  and  lastly, 
the  back  surface  of  felloe-  Reverse  position  of  wheel,  slick  up  all  places 
needing  it,  and  set  away  on  a  second  wheel  jack,  giving  the  wheel  a  sharp 
spin  to  better  hold  the  flowed-on  varnish  in  place.  Four  wheel  jacks  are 
necessary  to  flow  wheels  properly.  Then,  when  the  fourth  jack  is  occupied, 
the  wheel  first  done,  having  been  given  a  good  spinning  and  at  least  three 
half  turns,  may  be  set  away  in  the  rack,  subject  to  no  danger  from  runs  or 
sags.  When  applying  rubbing  varnish  it  is  advisable  to  flow  not  more  than 
six  or  eight  spokes  before  wiping  up.  About  this  proportion  of  surface  for 
flowing  and  then  wiping  up  should  control  in  applying  rubbing  varnish  to 
running  parts. 


CHAPTER   VII. 

DEPRAVITIES  OF  VARNISH  :  GRAINING  OUT— CRACKING— SWEATING- 
DEADENING,  ETC.  PITTING-  ENAMELING,  ETC.  SEEDY  OR  SPECKY— 
CRAWLING  WRINKLING,  ETC.-  RUNS,  SAGS,  ETC.— RIDGING,  ETC.  - 
PERISHING  -  CHIPPING  FIRE  CHECKS  GREENING— BLOOMING— BLIS- 
TERS—SPOTTING,  ETC.,  ETC. 

GRAINING  OUT. 

THE  peculiar  grain  showing  a  condition  of  the  surface  which  manifests 
itself  after  the  job  is  fmislied  arises  from  certain  incompetent  practices 
observed  along  in  the  early  stages  of  painting,  or  from  the  use  of 
wood  not  adapted  to  the  needs  of  vehicle  construction,  as,  for  example,  sappy 
or  unseasoned  wood.  It  is  a  principle  of  fine  surfacing,  substantiated  by 
experience,  that  when  a  carriage  body  has  been  perfectly  smoothed  and 
leveled  by  the  woodworker,  it  should  be  given  a  few  hours,  say  four  or  five, 
before  griming.  This  delay  is  to  give  the  wood,  subjected  to  unusual 
pressure  during  the  surfacing  process,  an  opportunity  to  expand  and  shape 
itself  into  a  normal  conformation.  Upon  high  grade  work  it  would  be  a  good 
practice  to  first  level  thoroughly  and  set  away  in  an  unquestionably  dry 
atmosphere  for  a  few  hours,  and  then  have  the  woodworker  apply  a  second 
sandpapering.  Then  after  another  interval  of  a  few  hours,  prime  thor- 
oughly inside  and  out,  top  and  bottom;  in  fact,  wherever  moisture  might 
possibly  find  an  entrance. 

Graining  out  may  come  from  priming  too  clo.sely  upon  the  completion 
of  the  woodworker's  leveling  process;  or  it  may  come  from  the  dry  wood 
having  been  exposed,  after  the  surfacing  process,  to  a  "spell"  of  damp 
weather.  The  dry,  porous  timber  absorbs  enough  wetness  to  raise- the  grain 
to  such  an  extent  that  nothing  short  of  a  resurfacing  will  restore  it  to  its 
normal  smooth  and  perfect  condition  again.  This  wood,  with  its  erect 
fibres  or  grain  fairly  visible  to  the  eye  upon  a  casual  examination,  if  painted 
over  and  finished,  dries  out  in  time,  and  in  doing  so  responds  to  the  natural 
law  of  shrinkage. 

Shrinkage  involves  a  process  whereby  the  priming,  roughstuff,  color, 
varni.sh,  etc.,  apparently  goes  in  while  the  grain  of  the  wood  goes  out. 
Graining  out  is  often  due  to  a  priming  coat  that  is  not  given  adequate  time 
to  dry  hard  and  firm.  This  soft  layer  of  rather  slow  drying  pigment,  if 
sealed  from  contact  with  the  air  prematurely,  is  a  powerful  inducement  to 
grain  showing.     Spongy,  porous  rough.stufi',  deficient  in  resinous  matter  and 


PRACTICAL  CAR  HI  ACE  AM)   H.U/O.V  I'A  I  Ml  .\(;. 


weak  in  its  binding  property,  is  also  often  responsible  for  graining  oul. 
Good  reliable  priming,  lead  and  roughstuff  coats,  allowed  to  dry  thoroughly, 
each  and  all  of  them,  arrest  the  graining  out  tendency.  Improperly  seasoned 
wood  is  a  prolific  producer  of  grained  out  surfaces. 

Moisture  confined  under  a  body  of  paint  and  varnish  is  bound  to  make 
its  exit  right  speedily,  and  this  it  does  by  voraciously  sucking  the  paint  and 
varnish  material  in  and  pushing  the  grain  of  the  wood  out. 

CRACKING. 

It  has  been  said  that  the  natural  destiny  of  varnish  is  to  crack.  When 
a  varnish  has  worn  itself  out,  lost  its  elasticity,  become  brittle,  it  will, 
despite  the  best  laid  plans  of  men  and  science,  fissure  and  crack.  In  so  doing 
it  simply  responds  to  a  natural  law.  The  cracking  that  occurs  prior  to  this 
period  of  service  is  of  supreme  concern  to  the  painter.  Probably  the  greatest 
cause  of  varnish  cracking — the  cause  that  towers  above  all  other  causes — is 
developed  by  the  hurried  system  of  painting — forcing  one  coat  over  another 
not  perfectly  dry.  Imperfectly  dried  rubbing  coats,  or  a  lack  of  uniformity 
in  the  selection  of  the  varnishes  used,  often  cause  cracking.  For  example, 
a  quick  drying 
rubbing  varnish, 
or  a  hard  drying 
finishing,  even, 
is  employed, 
over  which  a 
slow  drying, 
elastic   finishing 

is  used.  Antagonism  between  the  varnish  coats,  or  between  the  varnish 
and  color  coats;  improperly  adjusted  foundation  coats;  exposure  to  sudden 
atmospheric  changes,  including  excessive  heat;  the  action  of  ammonia;  poor 
material — all  of  these  are  underlying  causes  of  varnish  cracking.  Imper- 
fectly seasoned  panels  or  moisture  penetrating  thin  wood  panels  will  tend  to 
crack  the  varnish  used  over  such  surfaces.  The  cracks  in  varnish  due  to  a 
continued  straining  of  the  panels  are  termed  "force  cracks." 

Force  cracks  are  .usually  found  ju,st  over  the  steps  on  the  carriage  body, 
running  in  long,  circular  lines,  also  on  the  panels  under  the  seat  riser,  and 
on  the  seat  riser.  The  vibration  of  light,  insecurely  stiffened  carriage  bodies 
is  generally  a  direct  cause  of  premature  cracking  of  varnish.  The  accom- 
panying cut  of  a  buggy  body  shows  the  usual  location  and  sweep  of  force 
cracks.  This  class  of  surface  fi.ssures  is  very  easily  distinguished  from  those 
due  to  causes  previously  mentioned. 

'sweating. 

Sweating  is  the  taking  on  of  a  glo.ss  after  the  varnish  coat  has  been 
rubbed.     The  principal  cause  of  varnish  sweating  is  rubbing  it  before  it  has 


56  I'JiACTICAL  CARRIAGE  AXD  WAGON  PAINTING. 

sufficiently  hardened.  Varnish  laid  over  a  coat  of  color  or  of  varnish  that 
lacks  somewhat  of  being  dry  is  prone  to  sweat.  When  a  coat  of  varnish  has 
been  rubbed  and  allowed  to  stand  for  some  time — over  night,  say, — in  a  close 
paint  or  varnish  room  atmosphere,  it  will  take  on  a  sort  of  a  gloss  or  greasy 
scum  which  comes  under  the  head  of  sweating.  It  would  be  in  the  highest 
degree  dangerous  to  permanent  or  brilliant  results  to  flow  a  coat  of  varnish 
directly  over  a  sweaty  surface.  The  sweat  that  overspreads  a  rubbed 
varnish  surface  by  reason  of  the  absorption  of  atmospheric  impurities  can  be 
quickly  removed  by  lightly  rubbing  with  a  little  rotten  stone  and  water. 
The  sweating  out  of  a  surface  rui^bed  before  it  has  adequately  hardened  can 
only    be   remedied    by    allowing    the   surface    to    become   hard    and    then 

re-rubbing. 

DEADENING,  SINKING  IN,  ETC. 

This  describes  a  varnish  when  it  goes  "flat,"  loses  its  lustre,  and  refuses 
to  shine  in  the  public  eye.  The  causes  of  this  trouble  are,  briefly;  unsea- 
soned timber,  imperfectly  dried  under  coats,  such  as,  for  illustration,  a 
four-day  rubbing  varnish  surfaced  and  finished  over  after  permitting  the 
rubbing  only  two  days  in  which  to  dry.  Porous  under  coats  which  absorb 
too  great  a  percentage  of  the  oil  of  the  varnish  cause  deadening;  and  porous 
under  coats,  let  us  bear  in  mind,  produce  by  far  the  larger  share  of  varnish 

deadening. 

PITTING. 

Pitting  transforms  a  film  of  varnish  into  an  expanse  of  minute  indenta- 
tions or  pits,  and  simply  represents  in  an  aggravated  form  what  is  commonly 
known  as  pin-holing.  The  depravity  is  caused  by  a  lack  of  uniformity  in 
atmospheric  conditions  during  the  drying  process,  such  as  from  warm  to 
cold,  dry  to  moist;  mixing  varnish  of  various  grades;  varnishing  over  a 
sweaty  surface  or  over  imperfectly  dried  color  or  varnish  coats,  or  in  an 
apartment  having  an  excessively  wet  floor,  or  during  a  day  of  unusual 
moisture.  Pitting  may  also  come  from  varnishing  over  a  .surface  rubbed 
through  to  the  under  coats.  Varnish  charged  with  gaseous  impurities,  or  a 
varnish  not  sufficiently  ripened,  is  powerfully  inclined  to  pit.  Dirty  varni.sh, 
sometimes  ditto.  vSoap  or  grease  smears  will  cau.se  pitting,  as  will  also  too 
oily  under  coats.  Draughts  of  cold  air  have  been  known  to  cause  bad  ca.ses 
of  pitting. 

ENAMELING,  SILKING,  ETC. 

Applied  to  a  varnish  surface  when  it  a.ssumes  the  appearance  of  enameled 
leather  or  silk.  Varnish  used  upon  a  hot,  humid,  moist,  .sticky  day  often 
goes  silky  or  enamels.  Dog  day  conditions  usually  invite  enameling  or 
silking.  Varnish  put  oil  in  a  cold  room  is  liable  to  enamel.  Brushing 
varnish  too  long,  adding  turpentine  to  it,  using  an  oil-saturated  brush  or 
mixing  different  makes  or  grades  of  varnish  cause  the  depravities  here 
mentioned. 


PRACTICAL  CAIiULUiE  AM)  ir.ir.O.V  I'AJXTI.Xd.  57 

SEEDY  OR  SPECKY. 

Caused  by  want  of  thoroughness  in  cleaning  and  dusting  a  surface 
preparatory  to  varnishing.  Likewise  by  the  skinning  over  of  a  varnish,  the 
broken  particles  of  the  skin  then  working  into  the  liquid  and  thence 
conveyed  to  the  surface.  Also  by  using  an  unripe  varnish,  or  a  chilled 
varnish,  or  by  varnishing  on  a  cold,  damp  day  in  a  room  not  properly 
heated. 

The  "lousy"  or  dirty  varnish  brush  begets  the  seedy,  specky  work.  It 
is  a  fruitfnl  cause  of  such  work,  in  fact. 

CRAWLING. 

When  a  varnish,  after  having  been  spread  upon  a  surface,  contracts, 
picks  itself  up  into  patches,  and  otherwise  vanishes  from  parts  of  the  surface 
which  should  continue  to  reflect  its  lustre,  it  is  said  to  have  crawled. 
Causes:  Putting  it  over  a  color  or  varnish  ground  not  quite  dry;  using  oil 
in  the  color-and-varnish,  or  using  oil  in  the  color  coat  to  give  it  a  decided 
egg-shell  gloss;  hai-.dling  the  work  with  greasy  hands  or  washing  it  with 
water  in  the  slightest  degree  soapy  or  fatty.  Probably  the  egg-shell  gloss, 
however,  is  the  most  prolific  cause  of  varnish  crawling.  To  remedy  this 
trouble  wash  the  work  with  clean  water,  drj'  off  with  the  chamois  skin,  and 
varnish  immediately. 

WRINKLING,  CRINKLING,  ETC. 

These  are  caused  by   putting  on  a  too  heavy  coat  of  varnish,  or  by  not 

dressing   it  out  and  wiping  it  up   properly;    also  by    using  a  varnish    not 

sufiScientiy  ripened.     A  varnish  which  shows  wrinkling  or  crinkling  while 

standing  in  a  warm  room  may  be  made  to  assume  an  aggravated  form  of  the 

trouble  by  simply  transferring  the  work  to  a  cold  apartment.     In  the  case  of 

varnish  wrinkling  or  crinkling,  methods  of  prevention  are  preferable  to  any 

.system  of  cure. 

RUNS,  SAGS.  CURTAINS,  DRAPERIES,  ETC. 

Some  of  the  causes  which  develop  the  depravities  outlined  in  the 
foregoing  paragraph  are  responsible  for  those  at  the  head  of  this  one.  Other 
causes  are:  Lack  of  uniformity  in  the  application  of  the  varnish,  one  brushful 
of  the  liquid  being  nicely  worked  out  and  the  next  one  being  the  reverse,  or 
the  varnish  being  applied  heavier  on  one  part  of  the  surface  than  on  another, 
or  too  heavy  a  coat  serving  as  the  predominate  feature  thronghout. 
Careless,  incomplete  wiping  up  around  mouldings,  bolt-heads,  nuts,  and 
fixtures  of  that  order,  generates  runs,  sags,  etc.  To  reduce  these  deviltries, 
first  rub  with  water  and  pulverized  pumice  .stone.  Then  pare  off  a  few 
shavings  from  a  bar  of  common  hou.se  soap,  dip  the  rubbing  pad  freshly 
coated  with  pumice  .stone  into  the  shreds  of  the  alkaline  compound,  antl  rub 
briskly  over  the  offending  deviltry.  After  using  the  soap,  rinse  off  with, 
clean  water  very  thoroughly.  Then  rub  lightly  with  rotten  stone  and  wash 
thoroughly. 


58  PRACTICAL  CARRIAGE  AXU  WAGON  PAINTING. 

RIDGING,  ROUGHING. 

These  terms  are  given  to  a  surface  that  resembles  a  corrugated  panel, 
showing  a  ridgy,  furrowy  expanse.  Timiditj-  or  the  spirit  of  the  painter- 
afraid-of-his-varnish  provokes  this  lamentable  surface  condition.  After  the 
varnish  has  set  past  a  certain  tack  and  the  brush  is  then  drawn  through  it, 
roughing  and  ridging  occurs.  When  one  falls  heir  to  this  mishap,  take  a 
soft  badger-hair  brush  and,  procuring  a  small  quantity  of  turpentine,  proceed 
to  apply  the  fluid  plentifully  over  the  panel.  This  will  quickly  soften  the 
coat  of  varnish  so  that  by  wiping  the  brush  carefully  out,  the  loosened 
varnish  can  be  easilj'  brushed  off  and  the  surface  immediately  revarnished. 
PERISHING,  CRUMBLING,  RUSTING. 

By  this  we  mean  a  gradual  loss  of  lustre,  the  final  result  of  which  is  a 
disruption  of  the  surface  ending  in  a  complete  destruction  of  the  varnish. 
Washing  with  water  heated  beyond  the  tepid  degree  is  an  engaging  bid  for 
the  disaster  here  noted.  Ammonia  fumes,  coal  gas,  salt  sea  air,  soil-  of 
limestone  localities,  etc.,  cause  varnish  to  perish  and  crumble  away. 
CHIPPING,  FLAKING,  PEELING. 

The  separation  of  one  varnish  coat,  or  certain  parts  of  it,  from  another, 
or  from  a  coat  of  color  is  known  as  "chipping,"  "flaking,"  or  "peeling." 
Causes:  Moisture  in  the  wood;  imperfectly  dried  under  coats;  grea.se  and 
smoke  from  the  smithshop;  failure  to  maintain  the  proper  elasticity  between 
the  successive  color  or  varnish  coats.  It  is  very  probable  that  the  most 
active  and  effective  cause  arises  from  the  use  of  adulterated  turpentine, 
inferior  japan,  and  a  poor,  low  quality  material  generally. 

FIRE  CHECKS. 

These  consist  of  a  delicate  tracery  of  almost  invisible  fissures  radiating 

every   which   way.     The   displeasing    effects  of    fire  checks  are   not  fully 

disclosed  until  the   finishing  varnish  has  been  laid.     An  extra  coat  or  two 

of  rubbing  varnish  will  usualh'  suffice  to  conceal  all  traces  of   a  moderate 

arrav  of  fire  checks. 

GREENING. 

This  comes  from  the  use  of  too  many  clear  rubbing  or  finishing  coats  of 
varnish  to  a  black  surface.  Succe.ssiv^e  coats  of  clear  rubbing  varnish, 
capped  with  a  heavy  coat  of  finishing,  applied  over  a  black  japan  ground, 
aff"ords  a  pronounced  and,  in  some  respects,  enticing  shade  of  green. 
Greening  of  a  varnish  surface  is  also  effected  by  confining  the  freshly 
varnished  work  in  a  dark  apartment  while  the  drying  is  going  on.  When 
♦he  work  is  fit  to  remove  from  the  varnish  drying  room,  in  order  to  intensify 
the  jj^reening,  it  may  be  stored  in  a  dark  room  or  repository  for  a  time. 
Recently  varnished  surfaces  held  for  a  few  weeks  in  dark  apartments  green 
rapidly.  Prevention:  Use  black  color-and-varnish  over  Ijlack  color  grounds. 
Add  a  dash  of  black  color  to  each  of  the  clear  rubbing  coats  up   to  and 


PRACTICAL  CARRIAGE  Ay  I)   \VA(i(>S  I'MMISd.  59 

including  the  final  rubbing.  P\irnish  the  drying  room  with  plenty  of  light 
on  all  sides,  and,  so  far  as  possible,  insist  vigorously  upon  the  necessity  of 
light,  airy  carriage  houses  and  repositories. 

BLOOMING. 

Blooijiing  is  a  whitish,  metallic-like  film,  like  unto  the  bloom  on  a  plum 
or  peach,  which  obscures  the  brilliancy  of  the  varnish.  It  is  variously 
known  in  the  trade  as  going  cloudy,  smoky,  or  foggy.  Varnish  surfaces 
exposed  to  a  moist  atmosphere,  to  smoke,  or  to  the  fumes  of  the  blacksmith 
shop  are  apt  to  bloom.  If  the  blooming  is  of  recent  origin,  a  thorough 
washing  and  drying  off  with  the  "shammy"  will  generally  restore  the  lustre 
of  the  varnish.  If  of  long  standing  and  therefore  of  a  virulent  type,  the  only 
effectual  remedy  is  rubbing  with  pulverized  pumice  stone  and  water  and 
re- varnishing. 

BLISTERS. 

The  varnish  surface,   dry  or  apparently  so,  when  afflicted  with   little 

eruptions,  after  the  fashion  of  pustules  on  the  human  cuticle,  is  said  to  have 

blistered.     The  disease  is  caused  by  moisture  in  the  wood,  exposure  to  the 

intense  rays  of  the  sun  during  the  early  days  of  service,  or  to  the  presence 

of  oil  or  grease  on  the  surface  directly  under    the  finishing  coat  or  between 

any  of  the  preceding  coats  of  varnish  or  color.     Soft  under  coats  develop 

blisters,  their  development   through  this  medium  being  in  this  wise:  Coats 

of  lead,  heavy  in  body,  and  perchance  a  bit  fatty  or  gummy,  are  applied  to 

the  surface.     Such  coats  do  not  dry  thoroughly.     Oil  in  color  coats  tends  to 

the  same  result.     They  deceive  the  workman,  being  apparently  dry,  but  not 

really,  when  choked  up  under  subsequent  coatings.     A  surface  sobuilded  is 

eventually  put  into  service  and  submitted  to  the  sunlight.     Warmed  by  the 

heat,  these  undried  particles  of  color  or  lead  quickly  respond  to  the  law  of 

expansion.     The  varnish,  supple  and  full  of   elasticity,  instead  of   cracking 

and  splitting  into  fissures,  simply  swells  up  with  the  paint.     Fierce  stove  or 

steam  heat   causes  blisters.     A  varnish   blister,  if  not  located    upon  a  too 

prominent  portion  of  the  surface,  inay  be  reduced  to  a  surface  fracture  easily 

overlooked,  by  puncturing   with  a  needle  and    then  pressing   the   rupture 

down  with  a  wet  sponge. 

SPOTTING. 

There  are  several  forms  of  this  ailment,  viz.,  mud  spotting,  soapy  or 
dirty  water  spotting,  and  the  spotting  caused  by  strong  currents  of  air 
beating  powerfully  upon  the  varnish  surface.  Mud  spotting  is  by  far  the 
most  malignant  type  of  the  depravity  herein  mentioned.  An  elastic  high 
grade  varnish  is  more  susceptible  to  the  poison  contained  in  earthy  accumu- 
lations than  the  hard  drying  or  the  low  grade  varnish. 

Accumulations  of  mud  allowed  to  dry  upon  a  freshly  varnished  surface 
spot  the  varnish  through  the  action  of  the  suction  or  capillary  attraction  of 
the  dry  mud  extracting  the  oil  from  the  varnish.     Again,  the  spotting  may 


CO  J'liACTICAL  CAIililAdE  AM)   \VA<;()X  I'AIXTLXa. 

be  due  to  actual  saponification,  by  flie  alkaline  mud,  not  only  of  the  oil,  but 
of  the  gum  constituent  of  the  varnish  as  well. 

City  mud  strongly  charged  with  ammonia,  and  the  mud  of  lime  districts, 
is  notoriously  destructive  to  varnish  lustre.  While  it  rarely  happens  that 
any  sort  of  treatment  short  of  rubbing  off  the  surface  and  re-varnishing 
proves  satisfactory,  the  trouble  may  now  and  then  be  effaced,  temporarily,  at 
least,  by  first  rubbing  the  spots  with  a  rag  moistened  with  equal  parts  of 
linseed  oil,  turpentine,  and  alcohol,  and  then  immediately  polishing  with  a 
soft  piece  of  blotting  paper. 

Soapy  or  dirty  water  spotting,  which  may  be  distinguished  by  the 
usually  correct  circle  outline,  is  difficult,  if  not  impo.ssible,  of  effacement, 
especially  if  allowed  to  long  remain  upon  the  surface,  as  the  potash  and  acid 
nature  of  the  water  takes  a  ready  and  sharp  hold  of  the  varnish.  A  prompt 
washing  off  with  clean  soft  w^ater  will  sometimes  prove  a  cure.  This  failing, 
rubbing  off  and  re- varnishing  must  be  resorted  to. 

The  gases  generated  by  an  ordinary  coal  stove  or  blacksmith's  forge,  if 
permitted  for  long  to  attack  a  varnish  surface,  will  effect  a  particularly 
grievous  type  of  spotting.  This  will  manifest  itself  in  the  form  of  dull, 
lustreless  spots  richly  sufifused  with  a  film  of  greasiness.  The  rubbing  down 
and  re-varnishing  is  the  only  reliable  and  sure  cure  for  this  depravity. 
Spotting  caused  by  unusual  or  disturbing  currents  of  air  beating  with 
moderate  or  fierce  intensity  upon  a  sensitive  surface  is  met  with  in  the  shape 
and  appearance  of  dull,  indistinctl}'  defined  spots,  irregular  in  form,  some- 
times elongated,  frequently  of  conoidical  outline.  The  first  indications  of 
this  variety  of  spotting  should  be  met  with  a  prompt  washing  off  with  clean 
water  and  a  careful  drying  up  inider  the  chamois  skin. 


CHAPTER  VIi: 


STRIPING:  THE  PURPOSE  OF  STRIPING— HOW  TO  BECOME  A  STRIPER- 
PENCILS  AND  THEIR  CARE- MIXING  STRIPING  COLORS-^NAMES  OF 
STRIPES  —  STRIPING  DESIGNS,  INCLUDING  PANELS  AND  CORNER- 
PIECES— ETC.,  ETC. 


T 


HE  chief  and  essential  purpose  of  striping  is  to  impart  a  beautifying 
effect  to  the  surface  upon  which  it  is  used.  To  accomplish  this 
purpose  it  must  be  so  perfectly   and  artistically  executed  that  the 


Fig.  j.     Fine  Liner. 

colors  employed  in  painting  the  surface  are  made  to  reflect  their  most 
charming  harmonies  and  contrasts,  while  the  outlines  of  the  surface  itself 
are  cast  into  more  graceful  relief.  The  art  of  striping,  when  it  achieves  this 
result,  ma}'  be  said  to  have  successfully  performed  its  office;  and  the  expert 
exponent  of  this  art,  it  need  scarcely  be  added,  is  accounted  an  important 
member  of  every  well-regulated  paint  shop  family. 

To  be  a  really  skilled  striper,  the  workman  needs  to  be  the  possessor  of 
a  steady  hand,  or,  in  the  words  of  another,  of  "hand  magic,"  of  an  accurate 
eye,  and  plenty  of  color  sense.  In  point  of  fact,  it  is  highly  necessary  that 
the  striper  should  be  a  good  colorist;  one,  in  short,  who  is  thoroughly 
conversant  with  the  rules  of  color  harmony  and  contrast. 

The  first  law  with  which  the  novice  or  learner  of  the  art  of  striping  or 
ornamenting  is  confronted  is  that  of  color  and  form.  This  he  must  study 
patiently  and  persistently,  the  while  practicing  with  the  pencil  in  order  that 
the  purely  mechanical  part  of  the  art  be  well  mastered.  Grace,  freedom, 
sure-handedness,  are  indispensable  factors,  as  applied  to  the  mechanical 
features  of  striping  and  ornamenting,  and  these  can  be  attained  only  through 


Fig. 


Medium  Fine  Liner. 

the  agency  of  diligent  practice,  combined  with  the  help  of  an  eye  educated 
to  act  quickly  and  accurately.  There  can  be  no  arbitrary  rules  laid  down 
to  govern  the  art  of   striping  in  so  far  as  it  has  reference  to  style.     Style  is 


62 


PHACTICAL  CAliRIAGE  AND  WAGOy  PAIXTIXG. 


but  tbe  fleeting  fancy  of  "the  passing  show,"  and  while  it  is  here  today  it 
may  be  gone  tomorrow.  Hence,  the  fashion  in  striping  is  indefinite  and 
sufficiently  elastic  to  adapt  itself  to  local  requirements  without  departing  far 


Fig.  3.    Heavy  or  Medium  Line. 

from  what  may  chance  to  be  at  the  time  generally  accepted  as  the  prevailing 
style.  For,  after  all,  the  striping  must  be  subordinate  to  form,  color,  and 
surface,  and  its  lavish  or  meagre  employment,  in  plain  or  fancy  design,  is 
controlled  very  largely  thereby. 

THE  STRIPER'S  OUTFIT. 

The  pencil  equipment  is  properly  a  matter  of  the  first  concern  to  the 
striper.  The  last  decade  has  witnessed  the  retirement,  in  large  part  at  least, 
of  the  round  pencils,  save  when  stripes  are  to  be  done  in  sizes  exceeding 
}i  in.  The  vividly  sensational  name  of  "dagger"  or  "sword  pencil"  has 
been  applied  to  the  pencil  which  has  taken  the  place  of  the  round  liner. 
Practically  all  vehicle  stripers  use  these  pencils  at  present.  A  single  pencil, 
if  necessarj  ,  can  be  made  to  draw  a  various  as.sortment  of  lines,  rmniing 

from    the    hair    line   to    the 
round    line,  or  even  heavier. 
But,    all    things    considered, 
Fig.  4.    Round  Pencil.  the  writer  deems   it   best  to 

For  Stout  Line  and  Round  Line.  ^ave  a  pencil  made  to  draw 

a  ctrtain  line  and  no  other.  This  necessitates  the  ownership  of  a  larger 
equipment  of  pencils,  but  it  also  provides  for  uniformly  good  work  more 
easily  accomplished  than  can  be  expected  when  one  pencil  is  made  to  do 
dut}'  in  drawing  the  variously  sized  lines  called  for  in  the  average  carriage 
and  wagon  shop.  In  Fig.  1,  accompanying  this  chapter,  is  shown  a  fine  line 
sword  pencil.  This  draws  a  hair  line  when  filled  properly,  and  cannot  be 
made  to  exceed  a  fine  line  and  do  effective  work.  Fig.  2  is  a  medium  fine 
line  pencil,  and  Fig.  8  represents  a  pencil  with  which  a  fine  line  or  a  round 
line,  or  any  line  varying  between  these  two,  may  be  drawn.  The  striper 
should  be  provided  with  at  least    four  different  sizes  of   pencils.     To  make 


Fig.  5. 
the  .sword  pencil,  proceed  as  follows:  Take  the  desired  portion  of  hair  from 
large  camel' s-hair  j)encil  of  selected  quality,  and    draw  to  the  proper  bev 
from  one  .side  of  the  flat  portion  of  the  hair.     Then,  taking  the  hair  careful 


from  a 

.el 

carefully 


rUACriCAL   CAL'UJM.i:  .\.\l>    H.I'.OA'    l-.\l\ri\(i 


•;.•! 


M  ^  1 1 .'     I .  I  .N  J 


V'lvi       I  IV 


STf)T-'l'LlNK 


RouN'n 
Link 


Nakko'a' 
Stkipk 


COMBINATION  LINES  AND  STRIPES. 


64  PRACTICAL  CAREIACE  A XI)  WAGON  PAINTING. 


Double 
Fine    Line 


Double 
Stout  Line 


Double 

Roundlixe 


Double 
Round 
Line 

Fine  Line 
Centeh 


COMBINATION  LINES  AND   STRIPES. 


t'UACTlCAL  fAlililAGE  A.W   \\A(,U^  rAi:ST12<G. 


65 


Narrow 
Stripk 
Parallk^ 
FinkLin?:s 


Full 
Stripe 


Divided 
Stripe 


Divided 
Stripe 
Distance 
Fine  Line 


COMBINATION   LINES  AND  STRIPES, 


66 


PRACTICAL   CAIililAdE  AXJJ   ]rA(iOy  rAINTlXG. 


in  the  left  hand,  with  the  thumb  and  forefinger  of  the  right  handwork  a  bit 
of  trimmer's  paste  into  the  end  that  is  inserted  into  the  handle.     Narrow 

strips  of  paper,  say  34  in.  in  width,  and  of   the  full  length  of  the  hair,  are 

cut  and  spread  with  a  thin  glazing  of  the  paste,  and  on  these  prepared  strips, 

about    the    center    of 

them,    lay     the    hair, 

keeping    it     perfectly 

straight.      Next,    fold 

the     uncovered     por- 
tions   of     the     paper 

over    the    hair.     The 

day   following,    or   at 

any   time   in    the    fu- 
ture,  the   superfluous 

hair   and   paper    may 

be  trimmed  from  the 

embryo   ptncil  and  a 

handle    attached.     A 

straight-grained  piece 

of  pine  affords  a  good 

handle.     Split  in  cen- 
ter  of   handle,    insert 

the  hair  in  the  .split, 

wrap      tightly      with 
.stout  linen  thread,  and 

the  pencil  is  ready  for 
use.  In  the  making 
■  of  the  sword  pencil 
there  is  often  a  super- 
fluity of  short  hairs, 
of  which  it  is  desirable 
to  be  well  rid.  To 
remove  them,  take 
the  hair  before  it  is 
grea.sed,  and  with  the 
end  that  is  to  be 
bound  with  the  thread 
held  between  the 
thumb  and  forefinger 
of  the  left  hand,  pull  tlie  long  hairs  over  to  the  right,  thus  exposing  th. 
short  and  useless  hairs  and  affording  an  easy  removal  of  them.  This  process 
of  weednig  out  the  naturally  short  hair  develops  the  pencil  of  one  length  of 
stock  excepting,  of  course,  the  desired  taper  of  the  tool.  While  many 
supply  hou.ses  now  furni.sh  sword  pencils  of  all  .sizes  and  lengths   the  first- 


rUACTICAL  CAlililAClE  ASD   WAdOy  rAlMlXG. 


67 


class  stfipers,  the  chevaliers  of  the  art,  prefer  to  make  their  own  pencils,  and 
the  writer  heartily  coincides  with  that  preference,  the  sh(>p-made  pencil 
usually  having  a  poise  and  balance  not  possessed  by  the  store-purchased 
article.     To  tliose  of   my   readers  who  accept  the  dictum  that  there  is  no 

royal  road  to  the  art  of  striping;  that 
the  severe  schooling  in  the  busy  arena 
of  every-day  practice  is  the  culture 
that  graduates  the  talented  striper,  I 
would  say,  learn  to  make  your  pencils. 
Your  first  attempt,  or  your  second, 
and  perhaps  even  your  third,  may  not 
result  successfully,  but  patience  and  a 
capacity  for  taking  infinite  pains  will 
eventually,  if  not  shortly,  win.  It  is 
best  to  make  pencils  in  lots  of  yz  doz. 
Two  or  three  out  of  the  lot,  even  after 
one  becomes  tolerably  proficient  in 
pencil  making,  may  prove  defective. 
The  method  of  making  the  sword 
pencil,  as  above  advised,  has  the 
advantage  of  being  easily  and  quickly 
acquired,  and  is  therefore  recommended 
to  the  learner  as  a  feasible  one  to 
adopt.  With  these  sword,  or  dagger, 
pencils  many  of  the  ornamental  strip- 
ing designs  which  v,nll  accompany  this 
and  later  chapters  may  be  executed, 
the  extreme  point  of  the  pencil  being 
used  in  describing  all  curves  and  fancy 

Ji  jr\  \A  /  (Tk)  \  circles. 

lK~^  aY        «i  ^  '^^^  make  a  round  fine  line   pencil 

suited  to  the  execution  of  corner  pieces 
and  cut  up  striping  generally,  take  a 
camel's-hair  round  pencil  of  large  size, 
from  wdiich  extract  the  desired  quan- 
tity of  hair.  Then  cut  a  small  piece 
of  cedar  down  to  about  '3  in.  diameter 
at  one  end  and  considerably  smaller  at 
the  other.  In  the  smaller  end  insert  a 
pin  until  it  holds  firmly.  Then,  saj', 
l^  in.  from  the  wood,  clip  the  pin  off. 
Now  shave  the  stick  off  until  it  tapers 
perfectly  down  to  the  pin.  Next  take 
the    desired    quantity    of    hair,    and 


68 


PliACTlCAL   LAURlAirE  ASD   }\'AGOy  J'AIXTIXG. 


dipping  one  end  of  the  brush  into  shellac,  lay 
aside  for  a  few  minutes  to  permit  the  shellac 
to  harden.  Then  insert  the  pin  and  tapered 
point  of  the  wood  until  the  clear  working 
length  of  the  pencil  measures  at  least  l)j  in. 
from  point  of  pin.  Begin  at  the  lower  end  ot 
the  hair  and  wind  with  strong  thread  up  to 
within  }4  in.  from  point  of  pin.  The  pin  acts 
in  the  capacity  of  a  stiffener  to  the  pencil. 

The  durability    and  poise  and  elasticity  of 
striping  and  let- 


t  e  r  i  n  g  pencils 
depend  very 
greatly  upon  the 
manner  of  caring 
for  them.  The 
striper  should 
provide  himself 
with  adust-proof 
metal  box  in 
which  to  store 
his  pencil  equip- 
ment. See  that  it  is  furnished  with  lock  and 
key.  The  local  tinsmith  will,  for  a  small  con- 
sideration, outfit  such  a  box  with  a  tin  tray 
upon  which  the  pencils  may  be  carefully 
arranged.  A  striping  or  lettering  pencil 
should  be  immediately  washed  out  in  turps 
upon  the  conclusion  of  the  work  in  hand. 
Care  may  well  be  invoked  in  washing,  to  the 
end  that  all  pigment  accumulations  are  re- 
moved from  the  heel  of  the  pencil.  Wipe  the 
pencil  dry  in  soft  cotton  or  flannel  cloths  and 
then  grease  thoroughly,  pressing  the  grease 
carefully  into  the  heel  of  the  tool.  A  good 
grease  for  preserving  pencils  in  winter  is  pure 
lard;  in  summer,  lard  and  mutton  tallow,  equal 
parts.  The  writer  personally  vouches  for  the 
excellence  of  a  mixture  composed  of  nuitton 
tallow,  3  parts;  sweet  oil,  1  part.  This  serves 
as  a  good  all-round  pencil  grease,  suited  to  all 
extremes  of  temperature,  and  one  the  painter 
will  find  useful  in  keeping  his  pencils  in  good 
order. 


PRACTICAL  CAllIilA'iE  AM)   WAdOX  I'ALXTIXd. 


59 


MIXING  STRIPING   COLORS. 

This  comprises  a  difficult  and  skilled  feature 

of    the    art   of    striping.     Colors    which    are 

V.     X     \      X     /  yj  worked  and    controlled  easily    and  dry   relia- 

\\/\y\y    xJ  ^^y-   ^^^    important    aids    to    good    striping. 

'''  Therefore,  in  order    to  insure   speed,  shapely 

lines,  and  .satisfactory  color  effects,  the  striper 
will  find  it  greatly  to  his  advantage  to  clo.sely 
and    intelligently   study    the   composition    of 
pigments.      Some   colors   have   the   defect   of 
being  "short."       In  other  words,  they  do  not 
naturally  work    freely  from    the  point  of  the 
pencil,  blotching  and   flowing  out  in  patches. 
It  is  not  within  the  province  of  the  painter  to 
cure  this  ailment,  but  it  is  possible  for  him  to 
remedy  it  somewhat.    And  how?     By  abstain- 
ing from  the  use  of  oil  altogether,  and  depend- 
ing solely  upon  a  mixture  of  japan,  varni.sh, 
and    turpentine,    the     proportions     of    the.se 
liquids  being  governed  by  the  liquids  in  which 
the  colors  were  ground.     Oil  colors  in  carriage 
painting  are  restricted  to  a  narrow  margin  of 
use.     This  specially  applies  to  colors  employed 
in  striping,  as,  save  in  purely  lead  colors,  the 
oil  has  a  bad  habit  of  working  to  the  surface  of 
the  pigment.     When,  to   meet   a   certain  re- 
quirement or  emergency,  it  is  found  necessary 
to  use  oil  in  the  striping  color,  it  is  advisable 
to   also   add   a   few   drops  of   quick   rubbing 
varnish  as  a  means  of  holding  the  oil  in  place. 
White,   black,   and  some   of  the   yellows  are 
usually  found  under  the  head  of  short  colors. 
Flake    and    cremnitz     white    are    invariably 
designated  as  short  colors.     If  such  colors  are 
to  be   used  for   fine  lining,  mix   with  a  little 
rubbing  varnish  and   tint  the  white   slightly 
with  drop  black.     This  furnishes  a  fairly  free 
working  white  which  shows  no  laps. 

Black  may  best  be  described  as  a  riotous, 
w'ild-running  color,  strongly  in  need  of  a 
sturdy  steadying  liquid.  In  thinning  black  to 
a  working  con.sistency,  add,  say  y:^  rubbing  varnish.  Balanced  with  this 
proportion  of  rubbing  varnish,  a  finely-ground  tube  black  usually  works 
handsomely.     The  writer  would   advise  mixing   all  striping  colors  to  the 


ro 


PRACTICAL  CARRIAGE  AXI>  WAGON  FAINTING. 


right  consistency  in  the  cups, 
instead  of  using  them  on  the 
palette  in  a  thick  paste  and 
thinning  down  under  the  pencil 
as  fast  as  used.  Colors  furnished 
with  the  right  ingredients,  prop- 
erly proportioned,  the  whole  be- 
ing thoroughly  united  and  incor- 
porated, constitute  a  fine  work- 
ing basis  for  effective  striping. 

NAMES  OF  STRIPES. 

In  all  the  foremost  carriage 
and  wagon  centres  the  various 
styles  of  striping  are  designated 
by  specific  names.  This  makes 
it  an   easy   matter   to  give   an 

order  and  have  it  accurately  executed  without  confusion  or  unnecessary 
delay.  Appended  will  be  found  the  principal  lines  and  stripes  generally 
emplo}-ed,  the  medium  lines  and  stripes  only  being  omitted.  As,  for  instance 
medium  fine  line,  medium  heavy  round  line,  and  medium  stripe;  these  being 
deemed  irrelevant  to  the  illustration  in  hand.  The  first,  or  hair,  line  is  the 
finest  line  used,  the  fine  line  coming  next,  the  line  thus  gradually  increasing 
iu  size  until  it  reaches  the  broad  stripe.  What  is  known  as  the  medium  fine 
line  is  simply  the  fine  line  broadened  to  the  extent  of  about  J  3  increase  in 

size.  The  medium  heavy 
round  line  is  the  round 
line  with  the  width  of 
hair  line  added  to  it, 
while  the  medium  stripe 
is  the  narrow  stripe  in- 
creased by  the  addition 
of  a  fine  line  width.  A 
pencil  tracing  exceeding 
ys  in.  is  termed  a  stripe; 
less  than  ys  in.,  a  line. 
As  herewith  shown 
the  simple  lines  and 
stripes  are  seven  in 
number,  and  the  com- 
bination lines  and  stripes 
are  presented  in  eight 
examples.  In  the  cut 
_  of  the  divided  stripe, 
distance    fine    line,     the 


PRACTICAL  CARRIAGE  AM)   \VA(;<)X  I'M  STING. 


distance  line  is  drawn  nearer  to  the  stripe  than 
it  is  cnstomary  to  allow.  While  there  is  no 
arl)itrary  rule  to  govern  the  spacing  of  the 
distance  line  from  the  stripe,  it  is  usually 
drawn  not  less  than  }(  in.  from  center  line  or 
stripe.  Oftentimes,  too,  it  is  placed  at  a  dis- 
tance of  scant  }i  in.,  as  here  shown. 

The  accompanying  striping  designs  adapted 
to  traps,  drags,  stanhopes,  concords,  and 
pleasure  vehicles  generally  (used  also  on 
business  vehicles)  consist  of  corner  and  center 
pieces.  Their  representation  may  suggest 
extensions  or  changes,  through  the  medium 
of  which  a  wide  variety  of  designs  may  be 
evolved.  To  specify  the  colors  in  which  each 
design  is  best  illuminated  would  exceed  the 
limits  accorded  this  chapter. 

The  color  of  the  panel  determines  the  color 
of  the  design,  or  should.  A  pleasing  contrast 
to  the  body  color  should  be  sought,  and  in 
this  achivement  the  workman's  taste  and  art 
sense  must  be  exercised  in  lieu  of  printed 
directions. 

The  panel  designs,  if  placed  on  any  dark 
surface,  may  be  placed  in  white  and  trimmed 
in  green,  blue,  vermilion,  etc. ;  or  they  may  be 
placed  in  carmine  and  tricked  out   in  any  of 
the   many  neatly    contrasting    colors.     The 
finest  carmine  effects  are  obtained  by  glazing 
orange    or     chrome  yellow     with    carmine. 
Against  the  fashionable  blue  surfaces  many  of 
these  designs  present  fetching  effects  if  drawn 
in   gold,    white,  or  king's    yellow.      Against 
yellow  groundsthey  may  be  effectively  shown 
in  two  or  three  shades  of  red.     These  sugges- 
tions apply  also,  in  the    main,  to    the  corner 
pieces.     The  three  last  designs  on  page  184 
may  be  laid  in  gold,  shaded  with  asphaltum, 
high    lighted  with   light    yellow.      The  fine 
lines  can  be   done  in  any  harmonizing  color. 
Some  of  the  small  solid  partsof  these  designs 
can    be  glazed  with  carmine  and    verdigris. 
Some  of   the  designs   may    be   executed    iu 
orange,  glazed  with  carmine  and  high  ledtghi 


PRACTICAL  CARRIAGE  AND   WAGON  PAINTING. 


CORNER  DESIGNS. 


PRACTICAL   CAlililAdE  AM)    WAdOX   I'MXTING. 


73 


with  chrome  yellow.  Or  the  broad  portions  may  be  clone  in  some  solid 
color  and  the  fine  lines  in  a  slightly  different  shade  of  the  same  color.  On 
blue  panels  the  simple  fine  line  pieces  may  be  done  with  lining  bronze  glazed 
with  ultramarine  blue;  or  on  green  panels  use  chrome  yellow  and  glaze  with 
carmine. 


In  fact,  there  is  an  infinite  variety  of  colors  to  be  used  in  the  develop- 
ment of  the  designs  here  presented,  and  the  still  other  designs  which  it  is 
hoped  they  may  suggest,  the  controlling  factor  in  the  selection  of  colors 
being  simply  and  at  all  times  the  color  of  the  surface  upon  which  the  design 
is  to  be  used.  In  connection  with  this  must  exist  the  law  of  harmony  and 
contrast,  without  which  any  selected  color  scheme  will  prove  ineffective. 


PhACTICAL  CARRIAGE  AXD  WAGON  PAINTING. 


CHAPTER    IX. 

SCROLLING:  RELIEF  AND  FLAT  SCROLLS— HOW  TO  LEARN  SCROLLING^ 
SCROLLS  DONE  IN  GOLD,  ALUMINUM,  AND  IN  COLORS— EXAMPLES 
OF  RELIEF  AND  FLAT  SCROLLS. 

SCROLT/  painting  is  a  feature  of  the  trade  deserving  of  more  than  a 
passing  notice;  and  while  it  has  been  permitted  to  languish  in  a  state 
of  disuse  for  a  decade  or  more,  as  compared  to  its  former  popularity, 
there  are  evidences  abroad  which  point  directly  to  the  generous  employment 
of  the  art  of  scrolling  in  wagon  painting  ere  long. 

Perhaps  we  shall  never  again  observe  the  return  of  the  fine  old  Roman 
scroll,  bold  and  imperial,  once  so  common,  but  a  modification  of  this  noblest 
Roman  of  them  all,  or,  rather,  a  combination  of  this  form  of  scroll  and  some 
other  forms  requiring  less  space  for  attractive  display,  may  be  expected. 
Indeed,  the  modification  is  already  domiciled  in  the  esteem  of  business 
vehicle  users,  being  commonly  known  under  the  title  of  composite  scroll. 

The  full  Roman  scroll,  de- 
fined as  an  imitation  of  carved 
work  in  relief,  which  Raphael 
and  other  great  masters  have 
so  magnificently  executed,    is 

of  large  and  shapely  propor-  _  ,    ^ 

'^    ,     .  ,   .  \,  Scroller's  Line  of  Beauty. 

tions,  and  with  its  fine  sweeps, 

graceful  curves,  beautiful  examples  of  leafing,  and  endless  variety  of  twists 
and  turns,  cannot  be  confined  to  a  restricted  space.  It  is  pre-eminently  a  scroll 
of  stately  style,  and  amid  dwarfish  surroundings  or  when  reduced  to  less 
than  its  natural  size,  its  identity  is  lost  and  its  character  as  one  of  the  earliest 
forms  of  ornamentation,  completely  destroyed.  Hence  the  modification 
above  referred  to. 

In  learning  the  art  of  scrolling,  as  in  learning  the  art  of  striping,  it  is 
distinctly  fortunate  to  remember  that  there  is  no  royal  road — no  mystic 
method  by  which  one  can  master  the  art  under  the  soothing  influence  of  a 
mid-summer  night's  dream.  The  acquirement  of  the  art,  as  the  past  masters 
of  the  school  of  ornamental  painting  understood  and  practiced  it,  is  the 
result  of  patient,  arduous  practice.  For  this  purpose,  a  good-sized  black- 
board is  in  every  way  the  mo.st  desirable  surface  upon  which  to  work.  The 
beginner  should  under  uo  circumstances  confine  his  efforts  to  learn  scrolling 


PRACTICAL  CARRIAGE  AXJJ  WAGOy  PAIXTINO. 


Fig.  1. 


ritACTlCAL  CARlilA'iE  AKl)  WAHOX  l'AL\T[.\<i. 


Fig.  2. 


rn.UTU'AL   CAIiTilAdE  AXD   WAGOX  PAIXTIXC;. 


PRACTICAL  CAlllilAdE  AM)   WAdUX  I'MXTIXC. 


Fig.  4. 


to  a  i)a(l  of  paper  and  a  lead  pen- 
cil. As  an  eminent  instructor  of 
the  art  once  declared;.. "Work 
willi  a  lead^pencil  on  a  2x4 
paper,  ^nd  the  t;haiites  are  that 
youf  $fci;olls  vviil  l)e  of  the  2x4 
order.'*  Working  upon  the 
blackboard  with  a  chalk  crayon 
giv^  the  learner  a  freedom  of 
reach  and  a  valiant  command  ot 
the  pencil  attained  in  no  other 
way.  The  easy,  free-hand  work, 
although  it  may  be  lacking  in 
certain  highly  desirable  features 
of  gracefulness,  compels  the 
favorable  attention  of  the  critic 
to  an  extent  of  which  the  copy 
plate  design,  mathematicalh*  precise  in  general  execution,  may  fall 
lamentabl}'-  short.  There  is  a  sort  of  an  indefinable  naturalness  about  the 
original,  free-hand  scroll  quite  foreign  to  the  ornament  drawn  to  rule  and 
square  measurements.  It  possesses  a  quality  that  elicits  admiration,  just  as 
madam's  tea  gown, 

"That  lloatsawuy  where  it  properly  maj-, 
And  clings  where  it  ouyht  to  cling-," 

is  looked  upon  as  a  dainty  creation,  wondrous  fair  to  see. 

The  blackboard  and  chalk   crayon  exercise  is  valuable  in  imparting  to 
the  learner  a  natural  and  unstudied  twist  of  the  wrist,  together  with  a  whole 
arm  movement  that  most  assuredly   must  be  at  the  command  of  the  scroll 
workman.     Only  by  such  exercise  can  the  quick,  artistic  hand  be  acquired 
along  with  an  eye  trained  to  correct 
proportions. 

Hogarth's  line  of  beauty  can  be 
more  expeditiously  mastered  under  [ 
the  stimulus  of  blackboard  practice 
than  is  possible  tlirough  the  aid  of 
most  other  mediums.  Make  the 
figures  big  and  reaching,  in  sweeps 
backward  and  forward,  up,  down, 
and  in  a  variety  of  outlines.  This 
practice  will  be  hard  and  irksome 
at  first,  and,  unless  one  is  naturally 
gifted  in  this  particular  line  of 
work,  the  results  accomplished  may 
appear  crude   and    awkward   even 


nc. 


«(.1 


PRACTICAL   CAliRlAHE  AM>   M.l^7^.V  PAfXrryG 


Fic.s.  6  /.sn  7. 


PRACTICAL   CARULUIK  .\M>    WACOX  PAfXTTNC!. 


HI 


after  weeks  of  patiently  applitd 
toil.  But  in  the  realms  of  art 
few  things  to  speak  in  the  noble 
lingo  of  the  Bowery,  are  "dead 
easy."  Therefore,  blackboard 
work  should  be  studiously  ad- 
hered to,  the  work  of  eminent 
exponentsof  ornamental  painting 
studied,  as  the  mariner  studios 
the  ocean  chart,  and  advantage 
taken  of  all  the  other  aids  pro- 
motive of  a  rare  degree  of  skill. 
The  scroll  painter  able  to  discard 
pounce  pattern  and  tape  line 
measurements  is  licensed  to 
impart  a  charm    and    novelty,  a  F'k^--  ^• 

grace  and  variety,  to  his  work,  not  effected  otherwise-  The  spiral  may  be 
tefmed  the  basis  of  scroll  work.  Intersecting  the  spiral  are  the  leaves  and 
stems,  which,  shaded,  lighted,  and  high-lighted,  give  form  and  color  to  the 
relief  scroll. 

The  learner,  having  become  sufficiently  proficient  to  outline  fairly  good 
scrolls  with  the  crayon,  should  procure  some  large  sheets  of  paper — manilla 
paper  will  do — and  paint  them  in  some  dark  color  and  then  proceed  to  draw 
the  scrolls  with  the  pencil. 

In  the  matter  of  pencils,  different  kin<is  and  sizes  will  be  needed.  For 
laying  on  the  scroll,  a  black  sable  hair  pencil,  the  hair  set  in  metal,  running 
in  size  from  No.  4  to  No.  8,  according  to  the  size  of  the  scroll,  and  l}^  inches 

long,  is  an  effective  and  pleasingly  durable 
tool.  For  .shading  purposes  a  shorter  and 
softer  hair  pencil  is  best;  say  a  camel' s-hair 
pencil  3/(  inch  in  length.  However,  a  variety 
of  pencils,  both  sable  and  camel's  hair,  and  of 
the  various  sizes,  will  be  found  essential  in 
doing  the  large  and  small  ornaments  which 
the  accompanying  examples  may  suggest. 
Necessary  adjuncts  to  the  pencil  equipment 
are,  the  palette,  palette  cups,  and  mahl-stick. 
An  oval  palette,  made  thin  and  smooth,  of 
mahogany,  walnut,  or  even  a.sh,  polished 
nicely  on  a  shellac  base,  has  for  long  been 
popular,  and  in  point  of  excellence  remains 
unexcelled.  Make  the  mahl-stick  of  cedar 
preferably;  work  itoul  round  and  smooth  nnd 
tip  it  with  a  small  liall  of  cotton  enclosid  in  a 


Fir^  9. 


FliAUnCAL  CAliEIAGE  AND  WAGON  PAINTING. 


Fig.  10. 


~  patch  of  chamois  skin.  Taking  the 
*«acconipanying  illustrated  section  of 
a  Roman  scroll  (see  Fig.  1)  as  a 
working  draft,  begin  hy  allowing 
the  point  of  the  pencil  to  touch  the 
surface  and  then  with  a  confident, 
easy  sweep  twist  the  pencil  around  so 
as  to  form,  say,  the  first  spiral  or 
volute.  Next  do  the  stems  and  off- 
shoots attached  to  this  volute.  Prac- 
tice to  do  each  spiral,  and  the  stems 
putting  out  therefrom,  with  a  single, 
and  at  most  two,  strokes  of  the  pencil. 
The  first  principle  of  fine  scrolling 
consists  in  getting  easy,  graceful 
sweeps,  suggestive,  perhaps,  I  may 
be  allowed  to  say,  of  the  poetry  of 
pencil  motion.  The  tracery  of  a  stilted,  cramped  pencil  sweep  is  fatal  to  the 
balance  and  grace  of  a  scroll.  In  practice  the  student  will  probably  choose 
gold  bronze  as  the  most  desirable  substitute  for  gold  leaf  in  working  out  his 
gold-finished  scroll.  The  figure,  without  its  shading,  affords  a  flat  scroll  of 
fantastic  contour,  as  a  draft  of  Fig.  1,  devoid  of  the  shades,  will  quickly 
prove. 

The  shading  of  the  scroll  must  be  done  in  the  same  free,  off-hand  style 
that  must  necessarily  mark  the  evolution  of  the  general  figure  of  the  orna- 
ment. If,  as  above  intimated,  the  scroll  is  done  in  imitation  of  or 'in  the 
real  gold  leaf,  the  shading  is  best  done  with  asphaltum,  this  pigment  offering 
the  only  true  shadow,  authorities 
contend,  of  gold.  Mix  the 
asphaltum  with  good  coach 
japan  and  turpentine,  half  and 
half.  Reference  to  Fig.  1,  and 
to  the  other  accompanying  illus- 
trations, will  indicate  more  accu- 
rately than  printed  directions  the 
parts  of  a  scroll  requiring  shades. 
The  inadequacy  of  written  in- 
structions teachingtheparticular 
portions  of  the  ornament  to  be 
high -lighted  must  be  apparent  to 
the  reader.  Broadly  speaking, 
where  the  strongest  light  strikes 
there  high  lights  should  be. 
For  a  really  practical  insight  of 


PRACTICAL  CAIiUlACE  A  XI)  WAGON  PAINTING. 


83 


this  phase  of  the  work  the  student  should 
stud)-  examples  of  finished  scrolls  done  in 
the  highest  style  of  the  art.  The  gold 
scroll  shaded  with  asphaltura  invites  high- 
lighting with  white  or  cream  color. 

In    the  execution   of  relief   scrolls   it    is 
needful  to  observe: 

1. — All  ornaments  must  have  a  reason — . 
a  useful  thing  done  in  a  graceful  way. 

2. — Every  line  should  be  boldly,  clearly, 
and  elegantly  drawn. 

3. — Harmony  of  design,  balance  of  pro- 
portions,   sympathetic     formation    of    the 
various  parts,  demand  vigilant  maintenance. 

4. — Originalit}^  of  design,  with  every  part  having  an  intimate  relation- 
ship, an  indivisible  connection  with  every  other  part,  is  indispensable. 

In  the  execution  of  a  relief  scroll,  or  anj^  style  of  scroll  for  that  matter, 
it  is  a  factor  of  the  first  importance  that  the  surface  be  smooth  and  thor- 
oughly dry. 

A  great  deal  of  business  vehicle  scrolling  is  necessarily  done  upon  the 
color-and-varnish  coat  or  upon  clear  rubbing  varnish.  To  prevent  the  gold 
leaf  (in  case  gold  is  used)  from  adhering  to  the  varnish  coat,  various 
expedients  have  been  resorted  to,  among  which  the  whiting  pounce  figures 
as  the  most  effective  and  the  easiest  applied.  Other  recipes  include  rubbing 
the  surface  with  a  thin  solution  of  starch  and  water,  or  glazing  it  with  the 
white  of  an  egg,  or  wash- 
ing it  with  whiting  and 
water,  or  applying  a  thin 
film  of  potato  starch  upon 
it.  Good  gilding  size  is 
very  essential  in  the  art 
of  scrolling.  The  light 
and  easy  whirls  of  the 
pencil  cannot  be  done 
with  a  size  unsuited  for 
the  purpose.  Moreover, 
shop  requirements  have 
to  be  met,  and  they  may 
impose  a  limit  of  two 
hours  in  which  the  size 
must  dry  today,  and  to- 
morrow that  limit  may 
be  extended  to  four 
hciurs  or  even  longer,  and 


84 


PRACTICAL  CARRIAGE  AND  WAGON  PAINTIN 


PRACTICAL  cAinnAdH  AND  \VA<;()N  I'Myrixn. 


So 


perhaps— althou^di  in  these  dajs  of 
ocean  racers  and  Black  Diamond 
flyers  this  may  be  a  remote  possi- 
bility— the  size  will  l)e  expected  to 
hold  over  night,  after  its  applica- 
tion, before  being  gilded. 

Quick  size. — Gold  size  japan,  5 
parts;  fat  oil,  1  part.  W'ith  a  dash 
of  japan  ground  chrome  yellow,  this 
size  will  dry  to  safely  leaf  over  in 
'<  hour. 

Medium  quick  size.— Gold  size 
japan,  4  parts;  fat  oil,  2  parts. 

Four-hour  size. — Gold  size  japan 
and  fat  oil,  in  proportions  of  ^ 
japan  to  }'i  oil. 

Over-night  size. — Fat  oil  with  a 
few  drops  of  gold  size  japan  added. 

The  slow  drying  size  works 
better  and  affords  a  more  satisfac- 
tory job  of  gilding  than  does  the 
quicker  mixture,  the  gold  invariably 
taking  a  fine  burnish  over  the  slow, 
fat  oil  size. 

The  best  obtainable  fat  oil  is 
made  by  confining  boiled  linseed  oil 
in  a  bottle  and  exposing:  for  a  long 
time  to  the  sun. 

To  paint  relief  scrolls  in  colors  is, 
in  some  respects,  more  difficult  than 
doing  them  in  gold  or  aluminum 
leaf,  and  while  the  radiant  combina- 
tions of  pigments  furnish  striking 
effects,  there  is  lacking  in  the 
painted  scroll  a  richness,  an 
elegance,  an  aristocratic  display, 
that  constitute  distinctive  attributes 
of  the  gilded  scroll.  The  color  of 
the  surface  upon  which  the  scroll  is  to  be  painted  should,  of  course,  govern 
the  color  in  which  the  scroll  is  to  be  laid.  For  example:  If  the  ground  be 
a  light  canary  color,  first  fill  the  outlines  of  the  scroll  with  a  pale  shade  of 
brown.  Then  deepen  the  brown  fully  three  shades,  and  begin  the  shading 
of  the  scroll,  blending  the  deeper  color  into  the  lighter  so  that  a  gradual 
melting  away  from   dark  to  light  is  the  result.      Next  deepen  the  brown  a 


86 


PRACTICAL   CARRIAGE  AXD   r.'AGOX  PAJXTING. 


sliade  or  two  and  place  the  darkest 
shades,  blending  them  carefully  iii'.o  the 
lighter  ones,  but  taking  care  not  to 
extend  the  blending  into  the  parts 
previously  blended.  Next  take  a  little 
black  and  run  a  rather  fine  line  of  the 
color  as  a  shadow  to  the  scroll,  the 
shadow  usually  being  placed  to  the 
right  of  the  scroll  and  at  tlie  bottom. 
This  shadow  line,  to  be  properly  devel- 
oped, should  increase  and  diminish  as 
the  curves  and  twists  are  defined.  A 
thin,  fine  glaze  of  asphaltum  is  then 
placed  inside  the  black  to  shade  and 
modulate  it.  Some  lights  of  medium 
chrome  yellow  are  next  thrown  in,  and 
the  high  lights  following  are  but  a  shade 
or  two  removed  from  white.  To  lend 
piquancy  and  a  bit  of  warmth  to  the 
scroll,  a  few  touches  of  vermilion,  flick- 
ing the  spirals  here  and  there  but  invari- 
ably well  removed  from  the  lower  edge 
of  the  pattern,  are  added.  Instructions, 
however  carefully  they  may  be  worded, 
are  of  but  comparatively  meagre  helpful- 
ness to  the  novice  in  painting  scrolls  in 
colors.  Correctly  colored  illustrations  of 
scrolls  done  by  such  masters  as  Weber, 
Kuenzel  and  Redmond,  should  be  dili- 
gently studied. 

The  harmony  of  colors  is  the  control- 
ling factor  in  the  art  scheme  of  a  color- 
wrought  scroll.  Once  perfectly  familiar 
with  this,  the  ambitious  student  should 
encounter  no  insurmountable  hindrances 

to  success  as  a  scroll  worker  in  colors.  Referring  to  the  relief  scrolls  which 
illustrate  the  text  of  this  chapter,  we  would  call  attention  to  Fig.  1.  If  this 
be  executed  in  gold  it  may,  as  previously  suggested,  be  shaded  with 
asphaltum,  or  asphaltum  and  yellow  lake  can  be  used,  and  the  high  lights 
done  in  a  light  tone  of  Naples  yellow.  Perhaps  the  w^orkman  may  wish  to 
impart  to  the  deepest  shading  a  look  of  remoteness.  This  can  be  done  by 
giving  the  dark  shades  a  thin  wash  of  some  transparent  glazing  color,  as, 
say,  carmine,  purple,  and  crimson  lake,  or  ultramarine  blue  of  the  different 
shades.  In  Fig.  2  we  have  a  panel  design  composed  in  small  part  of  the  orig- 
inal Roman  scroll  and  in  large  part  of  the  more  modern  style.  Lay  this  scroll 


PRACTICAL  CAimiACl']  AM)   WAGON  I'AIX'I'IXC. 


87 


i 


\ 


\ 


ill  gold,  and  llicu  apply  a  coat  of  clear  ruljbing 
•varnish  over  Iheornamcnt  before  shading,  liigh- 
lighting,  etc.  A  scroll  of  this  pattern,  cast  in 
somewhat  delicate  outlines,  must  be  very 
carefully  shaded,  and  if  the  shading  be  done 
over  the  rubbing  varnish,  the  tendency  to 
cloud  and  blur  will  be  overcome.  In  shading, 
care  should  be  taken  to  preserve  the  form  and 
outlines  of  the  design,  and  this  can  best  be 
done  by  making  the  shade  color  decidedly 
semi-transparent.  To  high-light  this  scroll, 
cream,  orange,  canary  chrome,  or  pure  white 
may  be  used  to  advantage.  An  ornament  of  this 
style  looks  very  catchy  and  handsome  done  in 
aluminum  leaf.  It  is  strikingly  neat  on  almost 
any  dark  ground,  with  the  single  exception, 
perhaps,  of  black;  and  it  is  especially  pleasing 
against  the  numerous  yellows  so  popular 
nowadays.  Used  on  the  pale  yellow  grounds, 
however,  it  is  seen  to  the  best  advantage  with 
portions  of  the  design  glazed  with  a  wash  of 
verdigris,  ultramarine  blue,  or  carmine.  The 
fine  line  is  then  done  in  orange  or  Tuscan  red. 
Fig.  3  is  a  rather  showy  design,  of  easy  form, 
having  for  a  small  space  none  of  the  heavy 
appearance  cf  the  Roman  scroll.  This  scroll 
is  intended  for  the  panel  of  a  business  wagon. 
If  done  in  gold,  the  directions  for  its  execution 
have  already  been  advanced.  The  broad  line 
striping  environing  the  scroll  gives  a:i  admir- 
able effect  if  done  in  aluminum.  The  distance 
fine  line  can  be  drawn  in  the  high-lighting 
color  used  on  the  scroll,  or  it  affords  an  illum- 
inating effect  done  in  orange  and  glazed  with 
carm  inc.  The  size  of  the  panel  should  govern 
the  si/.e  of  the  broad  stripe  here  shown.  It 
may  run  from  3j  inch  to  ?:s  inch.  Fig.  4 
illustrates  a  corner  ornament  for  a  large  busi- 
ness vehicle  or  omnibus  panel.  It  can  be  laid 
in  gold  and  sliadcd  and  lighted  as  per  direc- 
tions above.  If  upon  a  deep  3'ellow%  orange, 
or  buff  ground,  it  can  be  done  to  the  charm  of 
a  rich  effect  by  casting  it  in  aluminum,  shading 
with  gold,  and  picking  out  with  dainty  flicks 


88  rUACTlCAL   CAlilUAilE  AND   W'AaOX  TAIXTIXG. 

of  black.  Fig.  o  looks  effective  ou  tne  ends  of  small  panels.  On  yellow  or 
creamy  grounds  the  fine  lines  may  be  drawn  in  orange  glazed  with  carmine, 
and  the  ornaments  in  aluminum.  Shade  with  brunt  umber  and  burnt  sienna, 
and  the  shade  side  of  the  shading  splash  lightly  with  deep  blue  and  the 
high-light  borders  with  light  blue.  On  dark  grounds  the  fine  lines  may  be 
done  in  orange,  carmine,  blue,  aluminum,  etc.,  and  the  relief  ornaments  in 
gold.  Figs.  6  and  7,  ornaments  for  panel  ends,  and  8  and  9,  corner  orna- 
ments, all  light  up  a  surface  radiantly  placed  in  gold  or  aluminum,  or  they 
render  a  pleasing  effect  done  in  colors.  Ornaments  of  the  order  of  Figs.  7, 
8,  and  9  display  a  dashing  appearance  done  in  three  or  four  shades  of  green 
against  pure  white,  gold  color,  light  sulphur  yellow,  Naples  yellow,  or 
canary  yellow  grounds,  black  shadings  being  used  to  touch  off  the  correct 
effect.  Such  ornaments,  to  be  sure,  when  painted  in  colors  should  properlj' 
be  made  to  respond  closely  to  the  laws  of  harmony  and  contrast.  Too  glaring 
colors  or  tints  used  upon  goodly  sized  surfaces  are  violently  detrimental  to 
artistic  decorative  effects.  Fig.  10  is  chiefly  of  the  flat  ornament  style,  the 
center  shell  only  being  thrown  in  relief.  This  corner  piece  is  done  in  gold 
with  the  shell  shaded  and  lighted,  or,  as  is  frequently  the  case,  the  shell  may 
be  done  in  aluminum,  and  washed  out  with  the  proper  relief  colors. 

FLAT  SCROLLS. 

The  flat  scroll  is  distinguished  from  the  relief  scroll  in  that  it  is  lacking 
in  all  forms  of  relief  ornamentation.  The  flat  scroll  is  vastly  more  simple  in 
its  working  out;  hence  many  workmen  essay  the  flat  scroll  who  under  no 
circumstances  would  attempt  to  execute  a  relief  design.  The  flat  scroll  is 
almost  invariably  first  placed  upon  the  surface  through  the  medium  of  the 
pounce  pattern,  and  it  is  then  filled  in.  The  design  of  the  flat  scroll  once 
laid  out  on  paper,  the  painter  used  to  manipulating  a  lettering  or  striping 
pencil  can  readil}'  fill  in  the  outlines.  The  designing  of  the  flat  scroll  can  best 
be  done  upon  manilla  paper,  the  tracings  being  executed  with  a  lead  pencil. 
Then  lay  the  paper  over  a  double  thickness  of,  say,  railway  car  plush  and  pick 
out  the  lines  with  a  small  awl.  On  wagon  work  the  flat  scroll  put  on  by 
means  of  stencils  is  not  often  seen.  In  the  railway  car  paint  shop  the  flat 
scroll  is  usually  stenciled  on. 

Some  decidedly  captivating  examples  of  flat  scroll  work  are  to  be  observed 
upon  many  business  vehicles  in  the  larger  towns  and  cities.  Many  of  these 
scrolls  are  laid  in  plain  gold  or  aluminum,  in  a  variety  of  colors,  as  well  as 
in  colors  and  gold,  and  very  often  aluminum.  Frequently  the  heaviest 
parts,  leaves,  etc.,  are  edged  with  .some  richly  adorning  color,  and  quite  as 
often  the  veiningof  the  leaves  is  traced  into  prominence.  The  accompanying 
eight  illustrations  of  flat  scrolls,  corner,  end,  and  center  panel  patterns,  will, 
it  is  hoped,  afford  at  least  a  helpful  working  idea  of  the  possibilities  of  the 
flat  scroll  style  of  vehicle  ornamentation. 


CHAPTER  X. 

LETTERING:  WAGCN  LETTERING  AS  DISTINGUISHED  FROM  SIGN  WRIT- 
ING^POINTS  ON  LEARNING  THE  ART  LAYING  OUT,  SPACING,  OUT- 
LINING SHADING  PUNCTUATION.  ALPHABETS:  ROMAN  —  MODI- 
FIED BLOCK  ORNAMENTAL  —  GRECIAN.  DESIGNS  FOR  BUSINESS 
WAGON  PANELS,    ETC. 

OF  Lx\TH  years  the  art  of  sign  writing,  or,  in  the  speech  of  the  shop, 
lettering,  has  come  to  be  so  generally  regarded  as  particularly 
distinct  and  apart  from  the  other  branches  of  painting,  having  a 
literature  rich  and  diversified  in  its  resources,  that,  at  first  thought,  it  would 
seem  perfectly  feasible  and  proper  to  omit  from  these  chapters  any  atttmpt  to 


Roman  Alphabet. 

deal  with  the  subject.  Nevertheless,  upon  further  con.sideration  the  writer 
has  preferred  to  accept  the  art,  for  the  present  at  least,  as  an  indivisible  part 
of  the  carriage  and  wagon  painter's  shop  practice;  and  while  a  thorough 
exposition  of  modern  sign  writing  would  necessarily  trespa.ss  immoderateh' 
upon  the  space  allotted  to  the  immerous  and  vitally  essential  phases  of 
carriage  and  wagon  painting,  and  cannot,  therefore,  be  entered  into,  to 
ignore  the  branch  altogether  might  fairlj'  be  branded  as  too  palpable  an 
oversight  to  merit  excuse.  Happily,  however,  the  art  of  sign  writing  has 
been  so  extensively  treated  upon  in  numerous  books  devoted  specially  to  the 
subject,  and  in   hundreds  of  exhaustive  magazine  articles,  that  it  l>ecomes 


90 


PRACTICAL   CARRIACE  AXU   WACOX  J'AiyTJXC;. 


necessary  in  this  chapter  to  touch  only  upon  the  salient  features  of  the  work 
as  they  directly  concern  and  apply  to  the  interests  of  the  carriage  and  wagon 
painter. 

Not  later  than  fifteen  years  ago  the  standard  styles  of  the  wagon  letterer 
consisted  of  about  five  alphabets.  The  modern  sign  writer  and  letterer, 
encouraged  and  directed  by  the  forces  of  recent  business  development,  has  to 
a  large  extent  demolished  this  standard,  substituting  therefor  what  is  gener- 
ally accepted  as  up-to-date  sign  writing — a  style  that  readily  admits  of  the 
employment  of  whatever  form  or  style  of  letter  will  best  and  most  vividly 
advertise  the  business  it  is  intended  to  herald.  Complaints  have  been 
sounded  in  widely  read  publications  to  the  effect  that  "it  was  at  onetime  the 
wagon  letterer' s  good  fortune  to  possess  an  occupation  and  a  name  above 
that  of  the  sign  writer."  "His  work,"  we  are  told,  "could  be  quickly 
distinguished  from  the  ordinary  letterer  or  sign  painter  by  its  boldness  and 
the  care  given  to  details.     These  days  have  gone  by,  and  we  find  the  well- 


56 


Roman  Numerals. 

known  and  approved  style  of  the  wagon  letterer  prostituted  to  the  idiosyn- 
crasies of  house  and  sign  painters." 

Such  complaints,  we  are  free  to  say,  are  in  the  main  exaggerated.  The 
wagon  letterer  has  not  been,  nor  is  he  in  any  present  danger  of  being, 
Othello-like,  without  an  occupation.  Moreover,  despite  the  adoption  by  the 
wagon  letterers  of  those  styles  which  most  completely  respond  to  the  dictates 
of  modern  business,  there  still  remain  certain  marked  cluiracteristics  of  the 
vehicle  letterer' s  work  which  distinguish  it  from  the  efforts  of  the  most 
finished  sign  WTiter.  Not  that  the  work  of  the  wagon  letterer  differs 
cons])icuously  from  that  of  the  expert  general  sign  writer — the  field  of  up- 
to-date  sign  work  having  merged  the  two  branches  into  close  relationship — 
but  tlie  difference  is  manifest,  as  before  said,  in  characteristics  most  plainly 
unmistakable.      Naturally,  this  variation  should  occur. 

A  sign  that  would  appear  legible  and  clean  cut  upon  a  building  might, 
if  transferred  to  the  panel  of  a  more  or  less  rapidly  moving  vehicle,  prove 
unreadable  and  hopelessly  indistinct.  A  sign  attached  to  a  building  or  other 
stationary  object  admits  of  study  from   the  various  points  of   the  compass, 


PRACTICAL   CAlililACPJ  A  .\ H   II'.I^O.V  J'A1X'JI.\(,'. 


91 


from  near  by  or  afar  off.  It  is  not  a  fleetinj^  show  ns  in  case  of  the  vehicle 
sign,  subject  to  laws  of  propnlsion  which  vary  to  meet  existing  business 
exigencies. 

Perspective  effects,  heights,  widths,  tliickness  of  lines,  etc.,  ])ecause  ot 
the  usually  generous  sweep  of  space  at  command,  as  secured  by  the  sign 
writer,  do  not  come  within  the  scope  of  the  wagon  letterer's  activity,  save  in 
rare  instances.  Ordinarily  wagon  spaces  to  be  lettered  are  of  dwarfed 
dimensions  and  quite  commonly  cast  in  irregular  outlines.  In  wagon 
lettering,  whenever  possible,  the  extended  letter  frequently  has  the  prefer- 
ence. An  able  and  widely  observant  critic  says  "it  might  almost  be  said 
that  the  customary  speed  of  a  vehicle  can  be  measured  by  the  degree  of 
elongation  which  the  letterer  gives  to  his  work,  the  lightning  express  car 
representing  the  ultimatum  in  one  direction,  while  the  mammoth  furniture 
van,  with  its  high  art    panels,  is  characteristic  of   the  otlier."     The  chief 


iniii 


Modified  Block  Alphabet. 

distinguishing  feature  of  wagon  lettering,  as  contrasted  with  the  average 
results  of  sign  \vriting,  is  found  in  the  wider  variety  of  elegant  color  effects 
to  be  remarked  of  the  first  named.  The  wagon  letterer  essays  glazing  with 
many  of  the  beautiful  transparent  pigments,  and  in  this  wise  brings  forth 
charming  combinations  in  color  seldom  attempted  by  the  sign  writer. 

The  wagon  letterer's  work  is  done,  as  a  rule,  with  quick  drying  colors  or 
size,  and  almost  invariably  is  varnished  over.  Surface  smoothness  is  there- 
fore with  him  a  matter  of  the  first  importance.  The  art  of  the  wagon  letterer 
is  composed  of  many  difficulties,  each  of  which  must  be  surmounted  ere  the 
learner  can  hope  to  stand  among  the  select  few  and  quaff  the  foam  from  the 
beaker  of  success. 

However,  let  me  say  that  a  thorough  mastery  of  the  art  is  worth  all  the 
toil,  patient  study,  diligent  practice,  and  applied  energy  the  aspirant  may 
choose  to  expend. 


92  ■'        rUACTlCAL   CAltRIAdE  AM)   WAdOX  I'AiyriXG. 

To  achieve  proficiency  in  this  l)ranch  of  painting,  it  is  advisable  to 
practice  outling  letters  with  a  chalk  crayon,  or,  preferably,  pipe  clay  on  a 
goodly  sized  blackboard.  All  lines,  straight  or  curved,  should  be  drawn  in 
free  hand,  and  the  practice  ought,  properly,  to  be  regularly  continued  until 
the  workman  acquires  a  reliable  degree  of  precision.  Ease,  freedom,  and  a 
masterly  command  of  the  hand,  coupled  with  a  fairly  unerring  accuracy  of 
the  eye,  are  justly  indispensable  accomplishments  in  sign  writing  or  wagon 
lettering.  Absence  of  mechanical  aids  will  render  free  hand  and  eye  work 
more  assured.  Many  admittedly  first-class  sign  writers  practice  marking 
out  with  rule,  compass,  and  line  every  letter  which  they  produce,  insisting 
upon  mechanical  accuracy  in  "la3-ing  out"  as  the  only  correct  means  of 
developing  style.  Such  workmen,  unfortunately,  were  probably  indifferent, 
in  apprenticeship  days,  to  the  advantages  to  be  derived  from  free  hand 
drawing,  and  being  strangers  to  them  they  find  themselves  greatly  handi- 
capped thereby. 

The  free-hand  and  rule-rivalling-eye  mechanic  goes  to  his  space  1o  be 
lettered    and  after  a  swift,  accurate  study  of    the  limitations  and  contour  of 


Modified  Block  Numerals. 

that  space,  as  a  basis  for  the  letter  construction,  including  style,  height, 
thickness,  etc.,  he  snaps  the  necessary  top  and  bottom  lines  and  proceeds  to 
rapidly,  but  lightly,  .sketch  out  his  letters.  Fairly  marvelous  examples  of 
this  manner  of  mechanics  are  to  be  encountered  in  sign  and  wagon  establish- 
ments. Such  men  are  rarel}^  ever  in  search  of  a  job.  The  job  is  mdstly  in 
sharp  search  of  them. 

Such  skill  and  facility  in  execution  of  lay  outs  is  not  gained  in  a  day. 
An  eminent  vehicle  letterer  once  told  the  writer  that  he  "was  glad  to  have 
acquired  the  'knack'  of  accurate  free  hand  and  eye  work  after  years  of 
practice."  At  present  there  are  boundless  fields  of  originality  awaiting  the 
sign  writer  and  vehicle  letterer.  Imitation  of  the  styles  of  expert  letterers 
may  with  the  beginner  lead  up  to  nobler  examples  of  the  art — for  has  not 
the  sage  whispered  that  genius  knows  ouIn*  the  right  of  conquest? — but  to 
the  apprentice,  fired  with  the  sacred  spark  of  ambition,  copying  will  not  long 
suffice. 

The  acknowledged  best  examples  of  sign  writing  and  wagon  lettering 
should  serve  as  the  beginner's  model,  rather  than  the  work  of  any  single 
practitioner  of  the  art.  The  fact  that  the  work  of  every  letterer  has  a  certain, 


PRACTICAL  CAIililA'iE  AM)   WAdOS  I'AfXTlXf;. 


m 


positive  individuality  of  style  furnishes  the  best  possible  reason  why  the 
learner  should  strive  to  avoid  copying  continuously  the  various  alphabets  of 
any  individual  expert  to  the  exclusion  of  all  others. 

LAYING  OUT,  SPACING,  OUTLINING,  AND  BALANCING 
of  a  job  of  wagon  lettering  are  factors  of  chief  concern.  The  artistic  and 
really  beautiful  example  of  lettering  is  brought  forth  only  when  praiseworthy 
skill  is  exercised  in  executing  the  operations  named.  Individuality  of  work- 
manship is  based  upon  the  style  of  laying  out.  A  workman  practiced  in 
handling  a  lettering  or  striping  pencil  can  very  soon  master  the  difficulties 
of  painting  a  letter  after  it  is  outlined.  The  job  accurately  and  artistically 
laid  out,  even  if  lettered  in  a  manner  not  strictly  up  to  the  standard,  will  far 
more  effectively  fulfill  its  mission  as  a  work  of  art  than  will  the  one  properly 


Oknamental  Alphabet  No.  1. 

penciled  but  improperly  designed.  The  key,  then,  to  fine  wagon  lettering 
may  be  embraced  in  the  work  of  laying  out.  To  present  rules  by  which  the 
workman  may  at  all  times  and  closely  abide  in  preparing  a  contemplated 
design  for  letter  painting  would  be  impracticable  becau.se  the  laying  out. 
with  its  attendant  features,  must  conform  to  the  size,  form,  and  general 
condition  of  the  surface.  In  laying  out,  the  best  exponents  of  the  art  are 
agreed  that  it  is  advi.sable  to  emplo)'  as  few  lines  as  possible.  The  fewer 
lines,  the  more  grace,  freedom,  and  ea'^y  poise  of  the  letter.s.  At  the  begin- 
ning of  his  career  the  letterer  will  probably  need  the  aid  of  four  lines,  two 
for  the  top  limbs  and  two  for  the  bottom  limbs  of  the  letters.  As  he  gains  in 
skill  and  experience  the  two  inside  linesmay  be  dispensed  with.  Then  with 
the  ever  present  dividers  in  hand  the  space  so  lined  out  may  be  "touched  off' 
until  the  necessary  divisions  to  acconmiodate  the  letters   desired  in  the  line 


!I4 


I'liAcriCAL   CAinnMiK  A\n    M'jr;O.V  PAINTING. 


are  spacetl.  Generally  .speaking,  all  letters,  except  W,  M,  J,  and  I,  have 
equal  spaces,  one  square,  for  example.  M  and  W  require  a  bit  more  space, 
I  and  J  a  bit  less.  There  is  to  be  remarked  a  consi(leral)le  variation  in  the 
space  between  letters,  some  of  the  letters  being  full  in  form  and  some  open. 
In  the  use  of  L,  F,  J,  A,  V,  W,  T,  Y,  only  half  the  space  given  to  the 
other  letters  is  allowable,  and  in  the  placing  of  V  and  ly  less  than  half  is 
permissible,  one  letter  being  advanced  well  into  the  space  allowed  the  other. 
The  letter  I  is  in  some  respects  a  difiicult  letter  to  .space  correctly.  When  it 
chances  to  be  cast  between  two  letters  occupying  full  stjuares  each  it  will 
require  more  than  the  usual  space,  otherwise,  being  a  needle-like  letter,  it 
will  be  elbowed  out  of  easy  location. 


^m^^ 


44  SO® 


Ornamkntai.,  Alphaukt  No.  2. 

The  vehicle  letterer,  daily  practicing  his  art,  will  frequently  find  himself 
confronted  with  words  or  combinations  of  words  to  which  rules  of  spacing, 
however  carefully  they  may  i)e  laid  down,  do  not  apply.  In  such  cases  hard 
and  fast  rules  of  spacing  cannot  be  successfully  observed.  Spacing  to  suit 
individual  requirements  must  then  obtain.  Here  a  letter  may  be  moved 
from  its  nearest  neighbor  a  little  more  than  its  ordinarily  allotted  space 
would  permit;  there  a  letter  is  ])laced  closer  to  its  neighbor  than  the  rules 
usually  allow.  The  position  of  several  letters  may  be  disturbed  in  order 
that  the  >\'ord  or  words  may  display  a  correctly  .spaced  appearance.  Vehicle 
letterers  invariably  devote  one-half  of  a  letter  space  to  separate  capital  letters 
of   names.     This  spacing  furnishes  the  ca])itals  with  plenty  of   prominence 


I'liAci'Kwi.  cMniiAni':  Asn  ii  ir.nv  r  \i \i'i.\(!.  or, 

md  makes  plain  and  distiiu-t  the  wliolt-  n.iim-.  ll-.ii, illy  tlu-  half  ot  a  l>ltiT 
space  is  placed  between  woitls.  This  h  ill,  however,  may  vai  >■  soiiu  what  as 
the  si/.'j  and  general  cttnlonnation  of  the  surface  may  imliiate. 

In  ontlinini;  letters  manv  of  onr  h -st  \iliitle  let  tereis  ailvisc  nsinfjf  no 
inside  lines,  the  extieme  outer  lines  only  being  employed.  This  method  of 
outlining  precludes  the  i)ossil)ilily  of  becoming  confused  on  account  of  a 
multiplicity  of  lines,  the  spaiing  ma\'  be  nmre  act-nralely  judged,  and 
enlarged  proficiency  iu  free  hand  work  is  attained.  ICspecially  in  the  Hist 
ilraft  of  a  letter  design  is  the  use  of  the  outside  lines  only  to  be  commended. 

^  B  e  B  E  F 
H   I    J   K  LyWN 


0  P  Q  H  S  T 
V  WX  Y  Z  &  $ 

1  234567890 

(Jki:('1.\m  a  i.i'MAin:'!'. 

The  balance  of  a  Utter  or  a  series  ot  letters  is  that  effect  whii  h  gives  legibility 
anil  artistic  proportions  to  the  design.  A  top-heavy  appearance  is  a  fatal 
defect  iu  a  letter.  To  properly  balance  a  letter  is  to  so  propoition  it  that  it 
will  inunediately  give  the  efTect  of  biing  able,  if  cut  out  of  thick  board,  to 
stan('  upon  its  base  solid,  secure,  and  in  no  danger  of  toi)pling  over.  For  a 
clearer  illustration  of  the  significani'e  of  balancing  letters,  invert  some  of  the 
ai(()nii)anyiug  examples  of  X,  vS,  Z,  eti'.  The  base  of  the  letter  S,  if  inaile 
the  same  size  as  the  apex,  would  throw  the  letter  sadly  out  of  balance.  In 
si)acingand  outlining  a  letter  design,  the  matter  of  shading  should  be  con- 
.sidered,  and  a  needed  allowance  made  therefor  if  shading  is  to  be  done. 


96 


PRACTJCWL  CAnUlAdE  AXI>   ]\.\<i(t\  I'AIXTING. 


SHADING. 

Many  sign  writers  contend  that  shading  a  letter  is  nothing  more  or  less 
than  making  an  artificial  representation  of  a  raised  letter,  and  consequently 
requires  a  fine  light  shade  upon  the  top  and  left  side  of  the  letter,  and  a  dark 
one  upon  the  bottom  and  right  side.  Formerly,  vehicle  letterers  did  not 
admit  the  propriety  of  this  way  of  shading,  insisting  that  the  shades  should 
be  on  the  right  side  and  bottom.  Only  in  case  of  sunk-bottom  vehicles  were 
the  shades  cast  on  the  top  and  right  side.  It  was  considered  deplorably  out 
out  of  form  to  throw  a  shade  to  the  left  of  the  letter. 

But  the  swift  tide  of  up-to-date  letter  work  has  left  its  impress  upon  the 
style  of  shading  in  vogue,  and  it  is  now  remarked  as  admissible  to  cast  the 
shades  at  any  desired  angle  and  upon  any  desired  side  of  the  letters.  Never- 
theless, it  is  the  leading  custom  among  vehicle  letterers  to  cast  the  shading 
on  the  right  side  and  at  the  bottom  of  the  letters.     Expert  exponents  of   the 


art  aver  that  indiscriminate  shading  of  letters  robs  their  work  of  its  individ- 
uality. 

Properly,  the  shade  of  a  letter  as  it  is  generally  understood  may  be 
defined  as  that  letter's  thickness  or  depth.  However,  that  which  is  strictly 
and  correctly  the  shade  of  a  letter  is  the  "cast  shadow"  and  it  belongs  to  the 
side  opposite  the  thickness  of  the  letter.  The  "cast  shadow"  usually 
consists  of  a  thin  wash  or  glazing  of  the  ground  color,  and  excepting  its  use 
upon  light  colored  grounds,  it  is  not  extensively  employed.  The  wagon 
letterer  resorts  generously  to  letter  shading,  using  single,  double,  and  treble 
shades,  as  the  requirements  of  his  business  suggest.  In  this  work,  skill  as  a 
colorist  of  the  first  order  is  demanded,  a  large  amount  of  shading  being 
executed  by  the  manipulation  of  glazing  colors.  In  double  or  treble  shading 
it  .should  be  renieml)ered  that  the  darkest  shade  invariabl}^  belongs  nearest 
the  letter.  Moreover,  the  letter,  and  not  the  shade,  should  display  the  most 
prominent  color.      In  respect  to  letters  laid  in  gold,  .silver,  or  aluminum,  it  is 


PRACTICAL  CARKIAdl]  AM>    WAdOX  I'A  I  X'll  .\( ;. 


97 


advisable  to  make  the  shade  touch  the  leaf.  Letters  done  in  piy^iiient  are 
frequently  given  a  "free  shade"  which  consists  in  permitting  a  small  space 
of  the  surface  color  to  separate  the  letter  and  the  shade.  The  "close  shade" 
describes  the  shade  that  is  allowed  to  ]o\n  the  letter.  A  shade  looks  ungainly 
and  ill  proportioned  if  made  wider  than  the  bars  of  the  letter,  excepting,  of 
course,  the  treatment  of  the  bottom  shades,  which  are  often  made  a  little 
heavier  than  the  perpendicular  ones.  This  heavier  bottom  shading  is  based 
upon  the  assumption  that  the  sun  casts  a  heavier  shade  to  the  bottom  in  pro- 
portion to  the  angle  of  light.  While  the  shading  is  generally  cast  against  the 
letter  at  an  angle  of  forty-five  degrees,  it  is  necessarily  inclined  more  nearly 
to  a  perpendicular  when  the  bottom  of  the  letter  is  more  heavily  shaded  than 
the  sides.  Some  alphabets  do  not  admit  of  shading,  and  others  require  very 
little,  as  compared  to  still  others.     A  portion  of  some  letters  in  certain  styles 


of  alphabets  would  present  a  choked  up  and  inharmonious  appearance  if 
tricked  out  in  a  shade  of  uniform  weight.  Thus,  B,  K,  G,  N,  S  have  body 
angles  which  do  not  admit  of  so  heavy  a  shade  as  perpendicular  or  bottom 
letters.  In  shading  it  should  be  a  paramount  rule  to  closely  study  the  tone 
of  the  ground,  to  the  end  that  the  most  naturafshadow  be  chosen,  one  that 
is  in  strict  harmony  with  the  colors  of  both  the  lettering  and  the  ground- 
work. Harmonious  and  effective  color  schemes  have  greatly  to  do  with  fine 
results  in  the  art  of  wagon  lettering. 

Gold  lettering  on  black  and  white  grounds  may  be  effectively  shaded 
with  almost  an}'-  color  but  that  of  the  yellow  order.  A  well-kno\vn  authority 
advises  the  use  of  the  richest  and  most  permanent  tones  of  red,  green,  blue, 
and  umber  shades  in  shading  gold  letters  placed  on  colored  grounds.  Reds', 
especially  the   intense  and   most  brilliant  reds,  are  warm,  advancing  cOlors 


98 


riiACTJCAL   rARlilAHE  AM)   WAdOX  PAINTING. 


for  shading  gold  letters.  Imagine,  if  you  please,  a  more  strikingly  hand- 
some combination  than  a  gold  letter  shaded  with  red  cast  against  a  ground  of 
some  one  of  the  fashionable  greens.  Or  reverse  the  style,  and  put  the  gold 
letter  upon  a  ground  of  carmine  glazed  over  flamingo  red,  shading  with 
green.     Blue,  as  a  shade,  produces  a  cool,  distant  effect. 

Black  letters  may  be  usually  shaded  with  any  of  the  primary  or 
secondary  colors.  In  shading  it  should  be  borne  in  mind  that  complementary 
colors  cannot  always  be  tastefully  combined.  As,  for  instance,  yellow  and 
orange  would  not  look  fetching  to  any  extent  when  shaded  with  blue, 
although  regarded  as  complementary.  The  learner  should  apply  himself 
studiously  to  the  study  of  happy  and  harmonious  color  effects  in  the  matter 

of  shading. 

PUNCTUATION. 

A  staid  old  axiom  has  it  that  "art  and  education  are  twin  sisters,"  but 
the  examples  of   punctuation  as   .seen  in  wagon    lettering   often  met   with 


suggest  the  inference  that  the  vehicle  letterer  is  not  slow,  at  times,  to  offer  & 
startling  contradiction  to  the  axiom.  The  sense  of  construction  and  meaning 
can  be  quickly  and  effectually  destroyed  in  a  piece  of  lettering  by  a  bit  of 
bad  punctuation.  The  simple  misplacing  of  a  comma,  period,  or  apostrophe, 
— about  the  only  punctuation  marks  deemed  necessary  at  present  to  bring 
out  the  full  meaning  and  make  symmetrical  a  job  of  vehicle  lettering — often 
results  in  disfiguring  an  otherwise  really  meritorious  piece  of  work.  The 
late  Mr.  Geo.  W.  W.  Houghton  has  defined  the  object  of  punctuation,"  to 
so  divide  written  or  printed  sentences  that  the  meaning  may  be  made  more 
visibly  clear." 

In  vehicle  lettering  as  now  practiced  the  more  .striking  and  illuminative 
words  and  phrases  are  set  forth  in  separate  lines,  each  line,  as  a  rule, 
carrying  a  different  size  and  a  different  style  of  letter.  This  system  of 
vividly  illuminating  and  emphasizing  vehicle  lettering  has  reduced  the  need 
of  punctuation  to  the  minimum;  Ijut  it  renders  the  necessity  of  a  wise  and 
judicious  use  of   punctuation  marks  none  the  less  imperative.     In  no  way 


PJiACTICAL    (AinUAal-:  AM)    II'.U.O.V   /M /.VVV.NV/. 


that  we  are  aware  of  can  the  inronnalion  whicli  a  line  of  Uttering  is  intended 
to  convey  be  so  clearly  perverted  as  throuj^h  the  nicdinni  of  a  flagrant  error 
in  pnnctuation.  A  sweep  of  lettering  done  according  to  the  most  approved 
standard  of  letter  form  and  construction,  but  imprcjperlj'  i)unctuated,  is  at 
best  only  a  distorted  and  deformed  example  of  workmanshij).  The  adver- 
tising pages  of  the  big  magazines  offer  fine  advantages  for  the  accumulation 
of  reliable  "pointers"  upon  the  accejHed  practice  of  modern  newspaper  and 
magazine  punctuation.  To  s\ich  sources  the  reader  is  invited  to  go  if  he 
would  profit  by  the  examples  set  forth  by  acknowledged  masters  of  the  art 

of  punctuation. 

ALPHABETS. 

The  Roman  alphabet  is  easily  the  most  beautiful  and  engaging  of  all 
the  alphabets  used  by  the  wagon  letterer.  It  is  an  alphabet  of  impressively 
graceful  lines,  curves  flowing  easy  rather  than  exact,  with  nothing  about  it 


to  suggest  a  lack  of  freedom  or  easy  repose.  The  Roman  letter,  as  conceived 
by  the  modern  school  of  American  sign  writers  and  letterers,  is  at  once  the 
most  picturesque  and  the  most  difficult  to  execute  of  any  style  known.  It  is 
a  letter  of  severe  requirements,  enforcing  in  its  proper  execution  a  very  facile 
and  skilled  m.anipulation  of  all  the  aids  at  the  command  of  the  workman. 
Inferior  quality  of  work  cannot  be  concealed  in  the  Roman  letter.  Every 
curve  of  its  noble  form  must  be  brought  out  and  fully  rounded  if  the  letter  is 
to  be  wiiat  its  name  implies.  Accompanying  this  chapter  is  a  Roman 
alphabet,  and  while  there  are  a  number  of  styles  dignified  under  the  title  of 
Roman  they  are  all  formed  on  the  same  general  principle.  The  Roman 
alphabet  isdeservedly  held  in  high  esteem  by  vehicle  letterers  and  sign  writers 
the  country  over.  It  is  most  commonly  adapted  to  the  needs  of  wagon 
lettering,  especially.  It  is  easily  read  and  can  be  greatly  extended,  if  neces- 
sary, without  injury  to  its  bold  and  legible  characteristics.     The  distinctive 


100 


PRACTICAL  CARBIACE  AND  WAGOX  PAINTING. 


features  of  the  individual  letters  contained  in  the  Roman  alphabet  are  briefly 
summarized  as  follows: 

A  has  its  cross  bar  drawn  at  two-fifths  of  its  height.  Properly  it  should 
be  wider  than  the  H  or  N.  The  center  bar  of  B  belongs  above  the  center  of 
the  letter.  C  is  not  drawn  in  a  perfect  circle.  Abrupt  curves  should  be 
avoided  and  the  exact  lines  of  the  dividers  discarded.  D  requires  care  in 
execution,  its  large  sweeping  curve  being  a  difficult  one  to  control.  E  goes 
a  bit  wider  than  its  height,  with  bar  above  center.  F  is  frequently  drawn  a 
trifle  narrower  than  E.  Remarks  made  concerning  C  apply  to  G.  Keep 
cross  bar  of   H  above  the  center.     Its  width  should  be  about  equal  to  iis 


height.  I  is  very  easy  to  make  and  needs  no  description.  J  is  a  little 
narrower  than  the  other  letters.  K  is  entitled  to  about  the  same  space  as  H. 
The  cut  shows  where  the  angles  of  the  letter  meet.  ly  and  M  occupy 
considerably  more  space  than  other  letters.  N  requires  the  same  space  as  H. 
O  is  a  little  wider  than  C.  The  necessity  for  this  increased  width  will  become 
immediately  plain  to  one  who  will  first  make  C  and  then  undertake  to 
confine  O  in  the  .same  circle.  The  proportion  of  P  is  shown  in  the  alphabet. 
Q,  along  with  O,  needs  easy,  sweeping  curves  to  best  display  its  form. 
Make  the  appendage  clean  cut  and  bold.  It  has  been  said  that  a  wagon 
letterer's  standard  as  an  artist  is  determined  by  the  quality  of  his  Roman 


I'lLlC'I'ICAL   CAUlilACE  AM)   WAdO.X   /'.  1 /A'77AY;.  101 

R's.  Be  that  as  it  may,  R  is  rightfully  regarded  as  a  difficult  letter  to 
execute.  The  cross  bar  usually  goes  in  at  the  center  of  the  letter.  The  tail 
of  the  letter  constitutes  the  difficult  point  to  control.  S  is  a  handsome  letter, 
withal  a  difficult  one  to  execute  properly.  To  ascertain  the  correctness  of 
one's  S,  invert  the  letter  as  drawn.  Inverted  the  letter  will  be  to|)-heavy 
but  it  should  not  be  built  on  awkward  lines.  T  has  the  same  height  as 
width.  It  should  not  be  narrowed  beyond  the  proportion  here  indicated,  as 
one  often  observes  it  in  sign  work.  N  and  V  may  be  passed  without  com- 
ment. W,  practically  composed  of  two  V's,  is  distinguished  as  the  widest 
letter  of  the  alphabet.  X  occupies  about  the  usual  space  and  its  upper  part 
should  be  smaller  than  the  nether.  Y  is  best  known  as  a  wide  letter  and 
like  the  T,  has  a  .shape  that  tends  to  break  the  regularity  of  spacing  and 
leads  the  workman  oftentimes  to  ruin  the  appearance  of  the  letter  through 
the  process  of  contraction.  Z  is  ordinarily  classed  as  one  of  the  easy  letters 
of  the  alphabet  to  make. 

The  modified  block  alphabet  herewith  shown  is  executed  by  many 
Eastern  wagon  letterers,  and  it  may  be  said  to  be  drawn  upon  pleasing  and 
easy  lines.  In  display  lines  the  modified  block  presents  a  glowingly  fine 
appearance,  forcible,  prominent,  and  plain  enough  for  him  who  runs  to 
read. 

The  ornamental  alphabets  set  forth  in  alphabets  No.  1  and  No.  l2  require 
no  extended  comment.  They  may  be  varied  somewhat  to  meet  certain  needs 
and  necessities.  The  letters  composing  No.  2  have  limbs  projecting  above 
and  below  the  regulation  lines,  and  therein  lies  the  chief  beauty. 

By  the  kind  permission  of  Mr.  Chas.  B.  Sherron,  editor  of  Varnis/i,  the 
writer  is  pleased  to  illustrate  a  Grecian  alphabet  of  decidedly  unique  attrac- 
tions. Wagon  letterers  have  come  to  regard  this  alphabet  with  much  favor, 
and,  if  properly  executed,  it  gives  very  striking  effects.  The  embellishments 
admit  of  innumerable  changes  and  modifications.  In  point  of  fact,  the 
variations  that  are  possible  with  this  design  are  only  limited  by  the  talent  of 
the  workman.  The  letters  may  be  shaded  quite  as  handily  as  other  styles. 
Done  in  gold  against  any  dark  ground  they  furnish  beautiful  and  rich 
effects. 

Accompanying  these  alphabets  are  a  few  designs  for  business  vehicle 
panels  in  which  examples  of  present  day  lettering  are  reflected  from  variously 
ornamented  grounds.  From  a  study  of  them  the  apprentice  maj-  perhaps 
find  a  suggestion  that  will  lead  him  to  originate  more  pretentious  examples. 
There  are  many  unexplored  fields  of  beauty  in  the  domain  of  ornamental 
wagon  lettering,  bear  in  mind. 


CHAPTER  XI. 


MONOGRAMS  —  ANTIQUITY  OF  THE  MONOGRAM  —  HOW  TO  DESIGN  AND 
PAINT  THE  MONOGRAM  —  TOOLS  NEEDED— LEADING  COLORS  EM- 
PLOYED—SOME ENGAGING  COMBINATIONS— ILLUSTRATIONS,  ETC. 

THE  designing  and  painting  of  monograms  is  an  accomplishment  which 
the  carriage  painter  should  zealousl}^  strive  to  acquire.  Years  ago 
the  crest,  coat-of-arms,  and  other  elaborate  forms  of  ornamentation 
accompanied  the  monogram  in  its  mission  as  a  panel  decoration.  Gradually, 
in  response  to  the  dictates  of  the  vehicle-using  public,  and  encouraged,  no 
doubt,  by  the  stern  mandates  of  competition,  the  use  of  the  lavishly 
wrought  style  of  panel  ornament  has  given  way  largely  to  the  monogram. 
Despite  the  apparent  tendency  toward  plain  effects  in  the  matter  of  pleasure 

vehicle  ornamentation  the  fact  remains 
unassailed  that  a  well  executed  monogram 
cast  upon  the  panels  of  a  vehicle  imparts  a 
color  effect,  and  breaks  the  monotony  of  a 
finish,  to  a  very  satisfying  extent.  As  my 
lamented  friend  Manchester  was  won't  to 
say:  "That  little  patch  of  color  warms  up 
the  entire  job,  relieving  that  sense  of  same- 
ness that  one  feels  when  contemplating  a 
carriage.  No  matter  how  nicely  it  is  fin- 
ished, there  seems  to  be  something  lacking 
if  the  ornament  is  omitted.  That  little 
color  spot  is  like  an  oasis  in  a  desert — a 
resting  place,  as  it  were,  for  the  eye."  Most  certain  it  is  that  the  dull 
uniformity,  the  eye  offending  lack  of  variety,  in  the  painting  of  a  carriage 
panel  is  often  relieved  by  the  simple  addition  of  a  monogram.  The  monogram 
is  not  of  recent  origin.  Away  back  in  those  alluring  days  of  Greek  heroes 
and  Eg3'ptian  divinities  the  monogram  existed.  Indeed,  early  in  the  fourth 
century,  as  ancient  history  informs  us,  monograms  were  used  to  identify  the 
pomp  of  power.  In  France  the  monogram  was  early  employed  in  the 
capacity  of  a  signature  and  inscribed  upon  seals  and  coins.  In  point  of 
fact,  the  use  and  purpose  of  the  monogram  was  clearly  established  when  the 
world  was  yet  young.  > 

The  word  monogram  is  .said  to  be  derived  from  two  modest  little  Greek 
words,  monos,  alone,  only,  and  graffi?na,  letter.     Authorities  differ  consider- 


PRACriCAL  CAnRIAGE  AND  WAdO.X  I'AlXTINd. 


10.{ 


ably  in  defining  the  word  monogram.     A  modern  authority    refers  to   it   in 
this  wise:   "In  the  true  monogram  two  of  its  letters,  or  all,  for  that  matter, 

should  have  some  portion  in  conunon." 
Again  it  is  said  to  consist  of  "characters  or 
ciphers  composed  of  two  or  more  letters 
interwoven,  being  an  abbreviation  of  a 
name."  Still  another  authority  contends 
that  the  monogram  is  "a  device  formed  by 
the  assemblage  of  two  or  more  letters  so  as 
to  form  a  single  character."  Probably  the 
three  definitions  here  quoted  determine  the 
limits  and  significance  of  the  monogram  as 
we  wish  to  know  it  today.  If  the  mono- 
gram is  formed  of  but  two  letters  it  is 
denominated  a  simple  monogram.  Com- 
posed of  all  the  letters  of  a  name  it  is  classi- 
fied as  a  complete  monogram.  It  is  not  the 
writer's  purpose  to  inveigh  against  the 
elaborate  and  complicated  monogram,  which, 
in  some  respects,  at  least,  partakes  freely  of 
the  mystifying  characteristics  of  an  oriental  newspaper  advertisement,  but 
he  does  wish  to  emphasize  the  value  of  a  monogram  devoted  to  the  use  of 
vehicular  adornment  made  sufficiently  plain  and  simple  to  be  easily  read  by 
one  not  used  to  deciphering  hieroglyphics.  "Handsome  is  that  handsome 
does,"  runs  the  quaint  old  axiom,  and,  generally  speaking,  the  clean  cut, 
unimcurabered,  legible  monogram,  serves  its  ofl&ce  as  a  handsome  ornament 
when  it  offers  to  the  observer  a  tale 
soon  told. 

The  designing  and  painting  of 
monograms  constitutes  an  art  mast- 
ered, save  in  exceptional  instances, 
only  after  long  continued  study  and 
practice.  Some  of  our  best  monogram 
makers  do  not  ascribe  their  success  to 
talent,  but,  rather,  to  hard  work  and 
practice.  Works  on  monograms  fur- 
nish plenty  of  examples  of  the  differ- 
ent styles  (which  consist,  principally, 
of  the  Florentine,  script,  and  block,) 
for  the  guidance  of  the  beginner. 
With  such  examples  before  him  the 
work  of  making  monograms  may  be 
begun.  Mr.  W.  A.  Thompson,  probably  one  of  the  most  skillful  monogram 
designers  in  the  country,  advises  the  student  to  "begin  practice  with  a  slate 


104 


I'JIACTICAL  CAlililAdE  AM)   WAdOS  J'AIXTING. 


and  pencil  for  a  time  at  least,  as  the  lines  can  be  more  readily  erased  than 
from  paper."  As  some  proficiency  is  gained  the  slate  may  be  discarded  in 
favor  of  the  writing  pad,  pencil  and  eraser.  The  com- 
pass and  dividers  are  not  advised  as  aids  to  be  con- 
stantly relied  upon.  The  general  practice  should  be  to 
let  these  aids  severely  alone.  Free-hand  drawing 
produces,  as  a  rule,  the  most  symmetrical  and  graceful 
monogram.  Study  of  proportion  and  balance  should 
early  engage  the  thought  of  the  learner.  Curves  on 
one  side  of  a  monogram,  for  instance,  should  be 
followed  when  possible  by  similar  ones  on  the  opposite 
side.  Also,  as  a  rule,  the  base  should  be  a  little 
sturdier  than  the  apex.  It  would  prove  futile  to  attempt  to  append  any  set 
of  rules  to  govern  the  designing  of  a  monogram.  The  principle  that  would 
obtain  in  the  laying  out  of  one  de.sign  would  probably  fail  of  being  a  principle 
at  all  in  the  drawing  of  the  second  one.  This  by  virtue  of  the  law  of 
variation  which    rules  in  this  as  in   all  other  arts.     The  letter  delected  from 


O.  D.  T. 


its  true  course,  (its  stand- 
considered,)  either  one 
as  a  matter  of  balance, 
swung  in  an  opposite 
possible  at  all  times  to 
which  admit  of  an  ex- 
problem  of  balance  and 
an  easy  solution.  But 
not    the     case.     Hence, 


W.  H.  U. 


ing  alone  not  being  here 
way  or  the  other,  should, 
be  matched  by  a  letter" 
direction.  If  it  were 
use  only  those  letters 
quisite  arrangement,  the 
proportion  would  invite 
such,  unfortunately,  is 
the  charm  and  beauty  of 


the  monogram  must  necessarily  be  governed  at  times  by  the  individual 
letters  of  which  it  is  composed  instead  of  by  their  arrangement  e?i  77iasse. 
The  perfectly  symmetrical  monogram  is  not  always  possible  under  the 
masterful  touch  of  the  most  dashing  originator  of  monogram  architecture. 
In  designing  a  monogram  for  a  carriage  the  size  and  formation  of  the 
panel  upon  which  the  ornament  is  intended  to  be 
used  must  be  reckoned  with.  Any  other  details  of 
general  cpnstruction,  as  applied  to  the  vehicle, 
require  consideration  in  order  tliat  the  design  may 
have  an  especial  adaptation  to  its  surroundings. 
The  style  of  the  design  ought,  properly,  to  be  in 
strict  harmony  with  the  style  of  the  vehicle,  just  as 
in  color  the  design  should  harmoni^.e  with  the  colors 
employed  in  painting  the  carriage. 

In  preparing  the  design  for  a  surface  two  methods 
are  given  for  the  transference  of  the  design  from  the 
paper  to  the  surface.     The  design   being  drawn  on  the  paper,  and  all  inter- 
lacings  clearly  denoted  by  e.xtra  emphasized  black  lines,  chalk  or  whiting  is 


M.  w.  &  CO. 


I'JiA CTICA  L  CA  lililA '/ E  A  M)  11'.  U.O .V  /'.  I IXTIXO. 


105 


rubbed  on  the  Imck  of  the  paper,  after  which  it  is  ])lace(l  upon  the  panel  and 
held  carefully  in  position  while  the  lines  ol'  the  desij^n  are  gone  over  with  a 
hard  j)encil.  B\'  the  second  method  the  design,  after 
being  drawn,  is  jK-rforated  alon^  its  lines  with  a  needle. 
It  is  then  laid  upon  the  panel  and  with  a  pounce  of 
whiting,  in  case  of  a  dark  ground,  and  charcoal,  in 
case  of  a  light  one,  the  small  dots  outlining  the  design 
are  left  upon  the  surface. 

Occasionally  the  workman  will   wish  to   paint  the 
monogram  upon    paper  in   such  a  way  that  it  can  be 
L.  J.  F.  used   as  a  transfer  ornament.     This   plan    is   recom- 

mended when  monograms  are  called  for  upon  vehicles  so  constanth'  used 
that  they  cannot  be  taken  from  service  long  enough  to  admit  of  painting  the 
monograms  in  the  usual  way.  Take  first  grade  lithograph  paper  and  upon 
one  side  apph'  successive  coatings  of  mucilage  until  a  firm  gloss  is  estab- 
lished. Then  outline  and  paint  the  monogram  upon  the  gloss  side  of  the 
paper,  using  colors  and  effects  that  would  beappropriate  if  the  painting  were 
being  executed  upon  the  panel  direct.  The  unused  poition  of  the  paper  is 
now  cut  off  and  moistened  and  the  monogram,  face 

down,  is   pressed  solidly  V"  //I /yVl    "pon  it  and  maintained 

in    that     position    until  MuM/Md^      ^^y*     '^^^^  monogram  is 

now,  both  back  and  face,  W^p^/Q/M  perfectly  sealed  between 

the  mucilage  clad  paper.     /^XM fj^^p^f^  'X:\\^  paper  at  the  back  of 

the    ornament    is     next  (  (J'/Ms  uMJ/  {  fj  dampened  little  by  little 

until    it    is    sufficiently  \/\^0    ^JP)  M^  saturated  to  permit  being 

lifted  easily.     This  pro-  cess  completes   and  fin- 

ishes the  shop  prepared  '    "     '  transfer  monogram,  and 

if  deftly  prepared  it  should  render  satisfactory  results. 

To  perform  good  work  in  painting  monograms  due  attention  must  be 
given  the  tools.  These  should  consist  of  niahl  stick,  palette,  palette  cups,  a 
small  palette  knife,  pounce  bags,  small  bottles  containing  japan,  turpentine, 
etc.,  and  a  complete  assortment  of  pencils.  The  pencils  should  be  red  sable 
hair,  set  in  metal,  and  outfitted  with  cedar  handles.  The  hair  had  best  not 
exceed  %  inch  in  length,  and  in  size  the 
pencils  may  run  from  knitting-needle  bulk  to 
wdiat  pencil  makers  call  No.  2.  As  a  rule,  a 
pencil  somewhat  smaller  than  the  No.  1  pencil 
of  commerce  will  be  needed.  In  the  way  of 
pigments  the  workman  should  provide  himself 
with  an  array  of  the  best  tube  colors.  A  finely 
prepared  color  is  a  great  aid  to  the  workman — 
an  aid,  let  me  say,  too  rarely  appreciated.  The  most  popular  monogram 
colors  are  various  shades  of  greens,  and  reds   having  close  relationship  to 


C.  H.  B. 


10(; 


PRACTICAL  CARRIAGE  AND  WAGOX  I'AIXTIXG. 


vermilion  and  carmine.  In  addition,  such  pigments  as  silver  or  flake  white, 
drop  black,  ultramarine  blue,  verdigris,  burnt  umber,  burnt  sienna,  orange 
chrome,  Indian  red,  chrome  yellow  and  Tuscan  red 
are  used. 

The  initial  of  the  surname,  invariably  to  be  made 
more  prominent  than  the  letters  of  the  Christian  name, 
will  submit  to  strong  color  effects  without  offending 
the  visual  sense.  Perhaps  it  may  be  timely  here  to 
say  that,  after  recognizing  the  fact  that  the  striping  of 
the  running  parts  rigidly  govern  the  color  or  colors  of 
the  monogram,  there  are  no  arbitrary  laws  to  restrict 
the  color  schemes  employed.  In  this  as  in  other  branches  of  ornamental 
painting  the  harmony  by  analogy  and  the  harmony  by  contrast  are 
recognized  and  adhered  to.  The  monogram  painted  in  relief  is  an  illustration 
of  harmony  by  analogy.  Such  a  monogram  represents  the  employment  of  a 
single  color  and  its  blended  tints  and  shades.  Harmony  by  contrast  consists 
of  painting  each  letter  of  the  monogram  a  different,  but  complementary, 
color.  The  relief  monogram  is  best  done  by  first  laying  the  design  in  a 
medium      shade      of      the 


o.  D.  T, 


shades  proper  of  the  mono- 
dark  .shades  of  the  color, 
tints  of  the  color.  The 
shading  is,  in  the  words  of 
under  parts  of  the  letter  or 
opposite  side  on  which  the 
the  overlapped  letter  would 


selected  color.  Then  the 
gram  are  cast  in  with  the 
and  the  light  ones  with 
vital  principle  involved  in 
an  authority,  "to  shade  the 
object  lapping  it  and  the 
light  falls — the  shade  of 
naturally  fall  on  the  under- 


lapped  letter,  giving  the  former  a  raised  appearance." 

It  has  been  said  that  the  striping  should  govern  the  color  or  colors  of 
the  monogram,  as  for  example:  If  the  gear  be  striped  with  carmine  the 
predominating  color  of  the  monogram  should  be  carmine;  if  with  orange, 
then  orange;  if  with  green,  then  green,  etc.  Granting  this,  it  may  also  be 
conceded  that  the  style  and  general  conformation  of  the  monogram  should 
in  no  small  degree  compel  color  effects  especially  adapted  to  it.  The 
symmetrical  monogram  calls  for  a  precisely  balanced  color 
scheme,  while  the  clumsy  and  uncouth  one,  made  so  from 
necessity — and  what  an  inexorable  task-master  necessity  is! 
— needs  a  color  adjustment  that  seeks  to  balance  the  light 
parts' with  the  heavy  ones,  and  the  heavy  with  the  light. 

Gold  and  aluminum  have  of  late  been    largely  u.sed    in 
connection  with    colors  and    no  departure  from  the  correct 
color  principles    has  thus  far  been  remarked,  vehicle  users 
being   especially  delighted,  as  well  they  may   be,  with  the  innovation.     A 
practice  that  has  .seemed  to  plea.se  the  public  immensely  permits  laying  the 


A.  M.    N. 


PRACTICAL  CARRIAGE  AM)  MAdOX  I'AIXTING. 


107 


entire  monogram  with  gold  or  aluminum,  as  the  painter  may  elect,  and  then 
glazing  the  first  letter,  say,  with  ultramarine  blue,  the  next  with  verdigris, 
and  still  the  next  with  carmine. 

If  done  in  gold  or  aluminum  apply  a  coat  of  rubbing 
varnish  over  the  leaf  before  shading  and  washing  with 
the  transparent  colors.  Thus  will  the  varnish  check  the 
sub.sequent  coatings  from  striking  in  and  tarnishing  the 
brilliancy  of  the  leaf.  In  the  case  of  gold  being  used, 
follow  the  varnish  with  shadings  of  asphaltum  diluted 
with  varnish.  The  dark  shades  may  be  produced  by 
recoating  with  the  asphaltum  until  the  desired  shade  is 
reached.  Once  the  asphaltum  is  quite  dry,  proceed  to  coat  tho.se  parts  of  the 
monogram  desired  to  be  in  colors  with  such  glazing  colors  as  carmine,  ultra- 
marine, or  cobalt  blue,  verdigris,  etc.  The  shades  of  asplialtum  are 
reflected  through  these  transparent  colors  to  the  measure  of  a  beautiful 
appearance,  and  the  sura  total  of  effects  thus  produced  are  particularly  rich 
and  brilliant.     The  letters  of  a  monogram  painted  vermilion   glazed    with 


carmine,  and  the  carmine 
phaltum  and  high  lighted 
a  splenaid  effect, 
monogram  the  workman 
mine  and  vermilion  mixtures 
effects.  In  fact,  all  lean 
besi  when  done  in  some  of 
ular.  A  very  fetching  >mono- 
by  laying  the  design  in  ver- 
part  of  It  with  carmine.  Or. 
for  the  color,  lay  the  design 


G.  F.  L.. 


then  being  shaded  with  as- 
with  pale  canary  color,  afford 
In  executing  the  script 
will  agree  with  us  that  car- 
produce  the  finest  color 
bodied  letters  show  at  their 
the  gorgeous  reds  now  pop- 
gram,  as  to  color,  is  made 
milion  and  then  glazing 
if  the  .striping  suggests  green 
in  a  shade  of  green  to  har- 


monize nicely  with  the  striping,  and  glaze  a  portion  of  it  with  verdigris. 
Heavy  bodied  letters  such  as  are  combined  in  some  of  the  monograms 
accompanying  this  chapter  show  admirably  with  the  upper  halves  done  in 
vermilion  and  the  nether  parts  put  in  Indian  red,  or,  preferably,  flamingo 
red.  The  vermilion  should  be  given  a  light  wash  of  carmine,  and  the  letters 
then  outlined  with  deep  orange.  In  some  of  the  large  cities  where  the 
trappings  and  the  suits  of  fashion  are  ever  in  the  foreground 
one  may  see  the  monogram  having  one  of  its  letters  tricked 
out  in  all  the  finery,  of  a  graded  shade.  '  The  manner  of 
.shading  consists  of  beginning  at  the  top  of  the  letter  with 
the  palest  shade  of  a  certain  color,  and  then  gradually  deep- 
ening the  shade  as  the  painting  descends  until,  when  the 
base  of  the  letter  is  reached,  the  very  deepest  and  darkest 
shade  of  the  color  is  developed.     As  for  example,  the  strip-  •^-  ^'■ 

ing  indicates  the  employment  of  green  as  one  of  the  prominent  colors  in  the 
monogram.   Begin  at  the  top  of  the  letter  with  the  very  palest  shade  of  green 


U)i< 


I'RACTICAL  CAlililAdE  AMf   WAdOX  J'AL\T1X(J. 


then  coniinuing  with  the  various  gradations  down  to  the  deepest  shade.  A 
graded  sliade  is  most  siiccesst\illy  accomplished  with  color  containing  a 
binder  of  raw  linseed  oil  to  give  the  pigment  a  free  working  property.  A 
short  stiff  pencil,  lightly,  very  lightly,  tipped  with  color  works  most  effec- 
tively in  blending  each  shade  into  the  next.  Reds  and  blues  respond 
splendidly  to  the  attractions  of  the  graded  shade. 

The  high  lights  are  justly  important  features  of  a  monogram.  Many 
monogramists  contend  that  a  high  light  is  almost  invariably  improved  by 
the  addition  of  a  bit  of  the  color  of  the  letter  being  executed.  As,  for 
instance,  the  letter  is  painted  medium  .shade  of  green,  and  the  high  light 
goes  white.  To  the  white  add  a  dash  of  the  green,  and  note  the  restful, 
pleasing  effect  secured  thereby. 


c.  H.  B.  T.  B.  L.  (;. 

High  lighting,  however,  as  it  applies  to  nearly  all  styles  of  monograms 
is  not  suited  to  the  delicate  features  of  the  script  monogram.  The  high 
lighting  of  the  script  ornament  should  consist  in  merely  flicking  those  parts 
needing  a  relief  touch  with  a  color  that  will  denote  aslant  of  light  from 
above. 

The  provision  that  permits  the  striping  colors  used  upon  a  vehicle  to 
govern,  with  but  few  exceptions,  the  predominating  color  or  colors  of  the 
monogram  renders  a  presentation  of  the  color  scheme  adapted  to  the  accom- 
panying designs  superfluous.  Therefore,  it  only  remains  for  the  writer  to 
advise  his  readers  to  learn  how  to  design  and  paint  monograms.  It  is  a 
buoyant  and  fascinating  art. 


CHAPTER  XII. 

PAINTING  THE  BUSINESS  WAGON:  CONSIDERED  AS  A  WORK  OF  ART 
AND  AS  AN  ADVERTISING  MEDIUM— VARIOUS  PRACTICAL  PROCESSES 
GIVEN— POPULAR  COLOR  COMBINATIONS  EMPLOYED  —  PAINTING 
CANVAS  TOPS,    ETC. 

ONLY  a  prophet  of  much  temerity  would  attempt  to  bound  the 
possibilities  of  business  wagon  painting  It  may  be  allowable  to 
define  it  as  a  limitless  art,  resourceful,  restive,  responsive  to  an 
admirable  degree  to  the  ever-varying  side-lights  of  technical  skill.  All  that 
art  can  be  anywhere  the  broad  surface  of  the  modern  business  vehicle 
invitingly  ofifers  to  display.  The  time  when  the  main  requirement  of  a  busi- 
ness wagon  was  symmetry  and  strength  of  structure  has  gone  b}'.  The 
merchant,  the  man  of  business,  has  found  it  to  possess  a  value  beyond  its 
mere  capacity  as  a  carrier  of  merchandise.  Its  worth  as  an  advertising 
medium,  as  an  agency  through  which  business  stability  and  enterprise  maj^ 
be  widely  heralded,  has  been  fully  learned.  Thus  the  evolution  of  the 
present  elaborately  painted  and  decorated  business  wagon  has  come  about. 
Is  it  not  stating  the  truth  too  strongly  to  sa}^  that  the  average  business  man 
is  now  quite  as  exacting  and  peremptory  about  the  style  and  appearance  of 
his  business  wagon  as  he  is  of  his  much  prized  pleasure  vehicle.  He  aims 
to  have  his  painter  achieve  a  distinct  individuality  in  the  painting  of  his  (the 
business  man's)  vehicles,  so  that  so-and-so's  delivery  wagons  are  readily  dis- 
tinguished from  all  others  met  with  along  the  highways  and  by-ways.  To 
this  end  he  not  only  seeks  to  have  his  vehicles  so  painted  and  decorated  that 
unsurpassed  advertising  effects  are  commanded,  but  he  also  makes  careful 
selection  of  a  combination  of  colors,  and  strictly  adheres  to  that  combination 
throughout  the  list  of  his  business  vehicle  equipment.  This  manifestation 
of  exclusiveness  on  the  part  of  business  men  has  created  a  spirit  of  rivalry 
that  has  greatly  redounded  to  the  painter's  benefit  in  that  more  beautiful 
and  dashing  color  effects  are  now  in  vastly  greater  demand  than  formerly. 

And  the  gratifying  aspect  of  the  case  is  that  these  original  and  artistic 
styles  of  painting  the  business  vehicle  bid  fair  to  continue  in  popularity.  It 
furnishes  the  wagon  painter,  and  most  especially  the  apprentice  in  the  wagon 
-paint  shop,  an  incentive  to  excel  in  this  branch  of  painting. 

The  reader  may  here  note,  perhaps,  an  inclination  to  separate  wagon 
painting,  which  we  have  in  preceding  chapters  treated  as  an  inclusive  feature 
of  vehicle  painting  in  its  broad  interpretation,    from   other  branches  of  the 


110  PRACTICAL  CARRIAGE  AND  WAGON  PAINTING. 

painting  art.  Necessarily,  in  the  small  provincial  jobbing  paint  shop  it  is  all 
grist  that  comes  to  the  hopper;  consequently  carriage  and  wagon  painting 
are  judiciously  included  under  one  head.  In  the  city  establishment,  how- 
ever, an  abrupt  division  is  made,  and  we  find  business  wagon  painting 
practiced  as  a  specialty — reduced  to  a  fine  art.  Many  argumentative  dis- 
cussions have  been  conducted  by  specialists  in  the  two  branches  to  prove  the 
superior  skill  required  in  one  branch  as  against  the  other,  and  a  wide  diver- 
sity of  opinion  remains  prevalent  as  to  which  side  has  the  best  of  the 
controversy. 

Certain  it  is,  at  any  rate,  that  the  exactions  of  fine  wagon  painting  are 
at  present  very  pronounced.  Granting  that  elegant  general  effects  take 
precedence  over  all  other  features  of  wagon  painting,  the  fact  remains  that 
the  quality  of  the  surface  must  be  carefully  looked  after.  It  is  seldom  need- 
ful to  obtain  as  fine  and  satiny  a  surface  as  is  required  on  the  panel  of  the 
jaunty  brougham  or  the  luxurious  landau,  the  color  scheme  employed,  united 
with  dignified  and  artistic  ornamentation,  being  depended  upon  as  the  irre- 
sistable  attraction.  However,  this  statement  is  not  intended  to  belittle  the 
importance  of  the  surfacing  system.  Upon  the  finest  class  of  business  wagons 
it  is  a  common  experience  to  observe  surfaces  which  in  point  of  smoothness 
and  general  excellence  are  second  onlj'  to  those  observable  upon  heavy 
pleasure  carriages  of  the  finest  class. 

The  wagon  painter  is  confronted  by  many  difficulties  concerning  which 
the  carriage  painter  pure  and  simple,  knows  little.  He  must  know  well  how 
to  build  beautiful  and  durable  surfaces.  He  should  be  a  first-class  colorist, 
understanding  all  the  features  of  color  mixing  and  fully  conversant  with 
the  laws  of  harmony  and  contrast.  He  will  likewise  find  it  necessary  to  be 
an  unexcelled  master  of  the  varnish  brush,  a  skilled  striper,  wagon  letterer, 
and  decorative  painter  of  established  ability.  Thechief  disadvantage  under 
which  the  wagon  painter  labors  is  presented  to  him  through  the  agency  of 
the  many  lead-weighted  colors  which  he  is  usually  compelled  to  employ. 
Many  of  the  light  colors  extensively  used  in  wagon  painting  at  this  time 
contain  keg  lead,  or  lead  of  another  form,  as  the  main  ingredient.  In  doing 
jobs  with  light  colors  containing  much  lead,  roughstuff  is  not  generally  used, 
the  lead  medium  being  relied  upon  to  furnish  a  sufficiently  smooth,  compact, 
and  close-textured  surface;  and  naturally,  therefore,  this  surface  is  freely 
flexible  and  elastic.  Amid  the  stress  and  strife  of  competition  and  swift 
processes,  these  coats  are  often  crowded  on  so  fast  that  reliable  drying  is 
not  assured,  and  then  to  lend  additional  uncertainty  to  the  outcome  of  the 
work,  rather  quick  and  fairly  unelastic  varnish  coats  are  employed,  so  that 
at  the  completion  of  the  work  a  thread  of  weakness  gleams  through  the 
whole  paint  and  varnish  structure.  Surface  building  fallacies  of  this  nature 
the  wagon  painter  is  forced  to  contend  with,  and  his  ability  to  surmount 
them  is  repeatedly  shackled  by  rigid  contrary  decisions  coming  from  the 
business  office.     By  this  token,  then,   it  is  plain  beyond  the  need  of  further 


PliACTICAL  CAIiUIAGE  AND  WAGON  PAINTING.  HI 

demonstration,  that  wagon  painting  is  an  art  that  bespeaks  for  its  suc- 
cessful practice  technical  knowledge  and  skill  of  a  high  order.  Its  varied 
phases,  none  of  which  are  uninteresting  and  most  of  which  are  really  fascin- 
ating, invite  study,  and  the  cultivation  of  talents,  both  artistic  and  mechan- 
ical, not  required  in  any  other  recognized  branch  of  painting.     Probably  the 

PAINTING  OF  A    FULL-PANELED   TOP    BUSINESS    WAGON 

offers  more  diificulties  than  any  other  style  of  wagon.  The  workman  first 
proceeds  to  clean  off  all  the  grease  smears,  and  then  takes  full  care  to  get 
the  job  thoroughly  sandpapered.  Then  prime  job  throughout,  running 
parts  and  body  inside  and  out,  top,  bottom,  etc.  If  the  job  is  to  be  painted 
in  dark  colors  use  the  priming  formula  No.  1,  given  in  Chapter  III.  of  this 
series,  and  if  light  colors  are  desired  prime  with  white  (keg)  lead  thinned  to 
working  consistency  with  raw  linseed  oil,  tempered  as  to  drying  with  a  tea- 
spoonful  of  japan  to  each  pint  of  the  primer.  If  no  time  limit  intervenes  omit 
the  japan.  The  running  parts,  in  due  time,  are  next  given  careful  sandpaper- 
ing, and  then  rub  lead,  as  fully  detailed  in  Chapter  III.,  is  applied.  The  body 
receives  sandpapering  and  a  lead  coat  adapted  to  the  final  color,  mixed,  if 
the  job  is  to  go  roughstuffed,  with  ->»  oil  to  ^  turpentine,  half  and  half 
Apply  to  inside  as  well  as  outside  of  body  and  top,  then  when  these  applied 
mixtures  are  dry,  putty,  using  as  mixture  ingredients  dry  white  lead,  3  parts; 
keg  lead,  1  part;  and  rubbing  varnish  and  japai;,  equal  parts. 

For  the  running  parts,  if  to  be  painted  in  light  colors,  use  the  next  coat 
of  pigment  mixed  to  a  brushing  consistency  with  a  trifle  less  than  3/s  oil 
and  a  corresponding  increase  over  ^  turpentine.  Thus  gradually  reduce 
the  percentage  of  oil  as  the  final  color  is  approached.  In  case  dark  colors 
are  to  prevail,* apply  over  the  red  lead  a  coat  of  lead  pigment  carrying  a  firm 
binder  of  oil,  say  one-sixteenth. 

Upon  the  body,  if  it  is  to  be,  painted  in  dark  colors,  next  apply  four 
coats  of  roughstuff,  choosing  from  among  the  formulas  given  in  Chapter  III. 
one  suited  to  the  time  allowance  to  be  reckoned  with.  If  light  colors  are  to 
be  used,  and  stuff  coats  tabooed,  all  the  open,  coarse-grained  sweeps  of  the 
surface  require  an  application  of  knifing  lead  (again  refer  to  Chapter  III.)  put 
on  with  a  bristle  brush  and  then  pressed  into  the  minute  wood  orifices  with 
a  broad  blade  putty  knife.  Then  in  the  next  coat  of  pigment,  colored 
fittingly  to  meet  the  final  color,  reduce  the  oil  to  the  proportion  of  one-fourth 
oil  to  three-fourths  turpentine-  In  the  next  coat  which  will  have  practically 
a  full  percentage  of  the  desired  color  the  quantity  of  oil  used,  as  compared 
to  that  contained  in  the  preceding  coat,  should  be  cut  in  twain.  The  next 
reduction  should  bring  the  pigment  down  to  possessing  simply  a  good  binder 
of  oil.  Then,  in  easy  procession,  follow  the  final  color  coat,  color-and- 
varnish,  if  the  system  permits  it,  clear  rubbing,  and  finishing. 

On  large  top  paneled  jobs,  however,  when  strictly  high  class  results  are 
desired,  it  will  be  quite  necessary,    regardless  of  the  colors  employed,    to 


112  PRACTICAL  CARRIAGE  AXD  WAGON  PAINTING. 

employ  roughstuflf  as  the  body  surfacing  agent.  The  surface  is  brought  up 
to  the  roughstuflf  stage  as  above  advised,  and  then,  in  case  of  a  white  job, 
resort  is  had  to  the  white  roughstuff,  formulas  for  mixing  which  will  be 
found  in  Chapter  V.  of  this  work.  The  colors  used  over  the  stuff  coats  are 
either  japan  ground  or  washed  with  benzine  to  free  them  as  much  as  possi- 
ble of  the  oil  carried. 

THE   CHEAPER  CLASS  WAGON 

is  painted  by  various  processes  in  all  of  which  the  several  knifing-in  pigments 
are  esteemed  factors.  A  moderate  cost  method  affording  very  neat  surface 
results  upon  small  paneled  bodies,  ribbed  ones,  etc.,  is  executed  by  first  giving 
the  body  a  coat  of  some  P.  W.  F,,  the  filler  being  applied  freely  and  at  the 
proper  time  removed  and  the  surface  dried  and  cleaned  up  nicely  with  clean 
rags.  The  chamfers  on  ribbed  bodies  are  gone  over  with  the  filler.  The  day 
following,  the  surface  is  given  an  application  of  knifing-in  lead,  the  chamfers 
getting  the  same  treatment  as  the  flat  surface.  This  knifing-in  lead  receives  a 
very  clean  and  smooth  knifing,  the  labor  of  sandpapering  being  thus  reduced 
to  the  minimum.  This  coat  having  dried,  the  nail  holes  and  other  indenta- 
tions are  next  puttied.  Sandpapering,  first  with  No.  ^2  paper,  lastly  with  No. 
0,  follows.  This  is  made  to  suflfice  for  a  base  to  color  upon,  if  a  light  color  is 
desired.  If  a  dark  color  is  wished,  a  coat  of  lead,  colored  to  a  full  slate  color 
and  mixed  to  dry  "dead"  or  gloss  free,  is  put  on  with  a  camel's-hair  brush. 
This  effectually  dresses  over  and  obliterates  surface  irregularities  which  might 
command  attention  upon  dark  surfaces,  whereas  upon  light  colored  ones, 
built  with  a  strong  percentage  of  lead,  they  would  pass  unheeded. 

The  running  parts  get  a  primer  consisting  of  lead,  2  parts;  yellow  ochre, 
1  part;  floated  in  raw  linseed  oil.  The  outer  or  more  exposed  parts  are  next 
draw-puttied  with  the  regulation  knifing  lead,  this  to  be  followed  in  due 
course  with  regular  carriage  putty,  being  smoothly  placed  in  nail  holes  and 
other  cavities.  Sandpapering  next  ensues  and  this,  in  turn,  is  followed  with 
a  glo.ss-lacking  lead  coat  in  which  the  final  color  is  well  represented. 

Perhaps  a  still  cheaper  system,  as  practiced  in  a  factory  shop,  may  be 
wanted.  Ifso,  prime  job  throughout,  body  and  gear,  with  a  pigment  strongly 
colored  with  the  color  to  be  used  in  painting  the  vehicle.  This  primer,  for' 
its  liquid  ingredients,  should  have  raw  linseed  oil,  ^;  turpentine,  ^;  japan, 
1  teaspoonful  to  each  quart  of  the  mixture.  Stand  the  work  aside  in  a  warm 
room  for  at  least  48  hours.  Then  thoroughly  sandpaper  with  No.  1  paper, 
after  which  putty  holes,  etc.  Now  take  the  body  .surface  and  give  it  a  coat  of 
knifing  lead  made  of  dry  white  lead,  %;  keg  lead,  ^;  finely  ground  rough- 
sUiff  filler,  }i;  rubbing  varnish,  j/^;  japan,  X;  turpentine,  J^;  color  this  lead 
to  meet  final  color.  Exercise  great  care  in  cleaning  off"  all  surplus  lead  so 
that  a  very  light  polish  with  No.  l4  sandpaper  will  suffice  to  insure  adequate 
surface  smoothness.  This  knifing  lead  will  require  thirty-six  hours  in  which 
to  dry  reliably.  Then  reduce  the  consistency  of  quick  rubbing  varnish  some- 


PRACTICAL  CARRIAGE  AND  WA(f()N  PAINTING.  113 

what  with  turpentine,  and  apply  a  coat  to  the  surface.  With  clean  linen 
cloths  wipe  off  the  surface  immediately.  This  varnish  coat  serves  to  act  as 
a  stopper  and  sealer-up  of  the  knifing  lead  and  putty,  in  addition  to  holding 
forth  the  subsequent  color  and  varnish  coats  becomingly.  One  day  after 
putting  on  this  varnish  coat  rub  the  surface  lightly  with  No.  0  .sandpaper  to 
flick  off  dirt  atoms,  etc.,  dust  carefully,  and  lay  the  first  coat  of  color,  a 
strong  binder  of  varnish  being  used  in  both  the  first  and  second  coats  of  color. 
From  this  out,  color,  ornament,  and  fini.sh  in  the  usual  way. 

The  running  parts  are  draw- puttied  on  the  priming  coat,  puttied,  sand- 
papered in  good  shape,  colored,  and  from  thence  out  carried  rapidly  to  a 
finish.  This  method  affords  a  pretty  acceptable  finish,  especially  if  tricked 
out  with  a  neat  turn  of  ornamentation  and  a  fine  show  of  varnish. 

Again  the  practice  is  observed  in  some  establishments  of  painting  the 
running  parts  as  just  described  and  doing  the  body  as  follows:  After  prim- 
ing as  usual,  a  coat  of  roughstuff  mixed  of  lead  and  filler,  equal  parts  by 
weight,  and  rubbing  varnish  and  japan,  equal  parts,  thinning  to  an  easy 
brushing  consistency  with  turpentine,  is  applied.  After  giving  this  coat 
twenty-four  hours  to  dry,  sandpaper  v;ith  No.  %  paper  to  clear  off  lumpy 
substances,  etc.  Clean  off  surface  carefully  and  draw-putty  with  a  mixture 
composed  of  dry  white  lead,  ^3 ;  keg  lead  1>^;  liquids,  rubbing  varnish  fr, 
japan,  V3.  This  coat  can  be  worked  over  in  ten  hours  if  necessary.  Then 
apply  two  coats  of  roughstuff  mixed  as  above  suggested,  the  two  coats  being 
applied  in  one  day  if  the  limitations  of  time  so  demand.  If  it  is  wished  to 
avoid  the  use  of  a  guide  coat,  and  at  the  same  time  enjoy  whatever  advan- 
tages are  afforded  by  such  a  coat,  give  the  last  coat  of  roughstuff  a  strong 
dash  of  yellow  ochre. 

PAINTING   HEAVY    TRUCKS   AND    FARM  WAGONS. 

At  present  this  class  of  vehicles  is  painted  in  a  way  differing  consider- 
ably from  that  practiced  formerly.  Then  durability  was  the  chiefly  consid- 
ered virtue.  Now  that  fickle  and  flighty  feature  of  painting  is  an  attainment 
no  more  earnestly  worked  for  than  is  a  high  degree  of  excellence  in  color 
effects. 

For  trucks,  while  a  wide  range  of  colors  are  popular,  radiant  reds  and 
yellows  are  apparently  in  the  greatest  favor.  The  wheels  of  such  vehicles 
are  best  given  a  coat  of  raw  linseed  oil  before  the  tires  are  set.  The  remain- 
ing running  parts  and  tjie  body  parts  are  likewise  coated  with  oil  before  the 
irons  are  fitted,  whenever  it  is  possible  so  to  do.  It  is  then  easier  to  clean 
off  grease  daubs  and  finger  marks  left  by  the  athletic  blacksmith  and  his  coy 
young  assistant.  Moreover,  there  is  a  saving  of  time  gained  by  this  method. 
The  next  coat  .should  be  a  half-oil,  half-turpentine  lead  coat  tinted  or  shaded 
stoutly  with  the  color  to  be  used  in  painting  the  vehicle,  unless  the  color  is 
to  be  a  yellow,  in  which  case  a  pure  white  will  be  an  entirely  correct  ground. 
If  a  better  job  is  desired  apply  an  extra  coat  of  lead  and  an  additional  coat  of 
rubbing  varnish.     Beautiful  canary  yellows  are  now  seen  on  a  great  number 


114     -.  PRACTICAL  CARRIAGE  AND  WAGON  PAINTING. 

of  city  truck  running  parts.  These  yellows  can  be  purchased  of  the  manu- 
facturers ready  for  use,,  barring  a  simple  thinning  down  with  turps  and  the 
addition  of  a  little  varnish  for  a  binder.  Upon  the  first  coat  of  lead,  puttying 
should  occur.  If  red  or  some  equally  positive  color  is  to  be  used,  color  putty 
accordingly.  If  yellow,  let  the  putty  go  white.  Sandpaper  and  smooth 
surface  down  finely  upon  the  first,  and,  if  used,  the  second  coat  of  lead.  In 
using  light  colors,  the  mechanic  will  find  it  needful  to  keep  clean  hands,  as 
the  slightest  smear  makes  a  disfigurement  not  easily  remedied.  For  first- 
class,  solid  jobs  of  canary  or  other  delicate  yellow,  two  coats  of  the  flat  color, 
and  one  coat  of  color-and-varnish  will  quite  surely  be  required.  The  varnish 
coats  when  used  clear  should  be  very  pale,  in  fact,  colorless.  Happily,  it  is 
now  a  comparativel)'  easy  matter  to  obtain  varnishes  specially  adapted  to 
light,  sensitive  yellow  and  white  surfaces. 

Many  of  my  readers  located  in  the  provincial  jobbing  paint  shop  will 
have  more  or  less  of  farm  wagon  painting  to  do.  As  a  possible  means  of 
aiding  them  somewliat  in  getting  the  job  ready  for  the  color  stage  of  the 
process,  it  may  be  said  that  when  the  job  arrives  at  the  paint  shop,  the  first 
and  most  important  thing  is  to  prepare  the  surface  for  the  first  coat  of  oil  and 
pigment.  When  possible  it  is  advisable,  as  in  case  of  heavy  trucks,  to  coat 
the  job,  prior  to  fitting  the  irons  with  raw  linseed  oil.  If  anything,  the  aver- 
age country  blacksmith  is  given  to  a  more  lavi.sh  surface  adornment  of  soot 
smears,  valve  oil  chromos,  and  scorched  quarter-sections  than  his  city  brother 
of  hammer  and  tongs.  Such  surface  defacements  are  all  violent  enemies  of 
durability.  Their  sleek  and  clean  removal  is  therefore  imperativ^e.  To 
banish  the  oil  and  grease  and  soot  smears,  saturate  a  cloth  in  benzine  and 
lightly  wash  the  surface.  This  fluid  will  loosen  and  quickly  remove,  with 
the  aid  of  a  clean  cloth  for  a  final  drying  up,  all  the  greasy  substances.  The 
.scorched  patches  require  a  very  thorough  cleaning  out,  a  piece  of  glass  nicely 
answering,  u.sually,  for  slicking  off  the  carved  wood.  When  the  parts  are 
freed  from  the  burnt  particles,  touch  them  lightl}'  with  raw  linseed  oil,  wipe 
dry  witli  a  bit  of  cloth,  subsequently  touching  the  places  with  shellac.  The 
priming  coat,  or  first  pigment  coat,  rather,  should  be  controlled  by  whatever 
color  the  job  is  to  be  painted.  Putty  on  this  coat.  Then  a  lead  coat  still  more 
heavily  fortified  with  the  final  color  is  in  order.  A  coat  of  color-and-varnish 
should  suffice  for  a  suitable  base  to  stripe  and  finish  upon,  save  in  case  an 
extra  color  coat  and  an  extra  varnish  coat  will  be  needed. 

Farm  wagon  bodies  may  get  priming,  a  coat  of  knifing  lead,  a  very 
smooth  sandpapering  on  this  coat,  then  a  coat  of  color,  one  of  color-and- 
varnish,  then  finishing  varnish.  If  a  little  better  surface  is  wished,  a  coat  of 
clear  rubbing  varnish,  surfaced  closely,  will  give  the  desired  result.  Dark 
rich  browns  for  the  bodies  harmonize  effectively  with  almost  any  of  the 
popular  yellows  for  running  parts.  Indian  red,  five  parts;  Prussian  blue,  one 
part;  with  a  dash  of  yellow  to  tone  the  mixture,  give  a  beautiful  brown. 
Chocolate,  maroon,  and  wine  color,  also  furnish  strikingly  handsome  results 


PRACTICAL  CARRIAGE  AND  WACON  J'MXTJNG.  115 

for  farm  wagon  bodies,  when  shown  over  running  parts  attired  in  gay  coats 
of  yellow. 

COLORS  FOR  BUSINESS  WAGONS. 

As  already  suggested,  a  wide  variety  of  colors  of  striking  brilliancy  are 
being  used  in  painting  business  wagons.  Perhaps  the  prevailing  colors  may 
be  referred  to  as  the  various  shades  of  yellow,  reds,  and  greens.  Chocolates, 
maroons,  browns,  and  rich  shades  of  blue  are  also  extensively  employed. 
Many  light  delivery  wagons  are  painted  solidly  throughout,  body  and  run- 
ning parts,  with  some  one  of  the  beautiful  shades  of  canary  yellow.  The 
lettering  and  ornamental  work  upon  the  body  may  be  done  in  ahiminum 
leaf,  the  shadings  and  striping  being  placed  in  green  or  blue.  A  full-paneled 
top  business  wagon  may  be  painted  in  this  way  and  the  color  effects  will  be 
handsome.  The  main  body  panel,  lower  and  front  panel,  rich  wine  color; 
center  panel,  moldii^gs  and  other  spaces,  medium  carmine;  inside  edge  of 
moldings  go  black,  striping  white.  Letter  in  gold  and  shade  in  blue,  light 
and  dark.  Running  parts,  carmine;  striped  j{  inch  black  line,  and  fine  line 
of  white.  Or  the  body  panels  may  be  done  in  deep  ultramarine  blue,  mold- 
ings black,  with  letters  in  gold  and  ornaments  and  striping  in  gold  and  white. 
Running  parts,  light  ultramarine  blue  striped  two  round  lines  of  white,  five- 
sixteenths  of  an  inch  apart.  Again  the  main  panel  of  body  may  go  sage 
green  or  a  fine  cream  yellow.  If  sage  green,  paint  lower  panels  merrimac 
green;  running  parts  still  lighter  shade  of  green.  Lettering  done  in  fine  gold 
outline,  striping  and  ornamenting  done  in  gold.  In  case  main  panel  is  done 
in  cream  yellow,  throw  lower  panels  in  carmine.  Letter  in  gold.  Running 
parts  go  a  lighter  tint  of  cream,  and  stripe  black  to  correspond  with  black 
moldings  on  body.  The  fine  line  should  be  carmine.  If  desired,  paint  body 
and  running  parts  carmine,  letter  in  gold  or  aluminum,  and  .stripe  with 
vermilion.  Moldings  on  body,  black.  Another  combination  shows  the 
upper  panel  black,  lower  panels  and  running  parts,  cherry  red;  or  upper 
panel  black,  lower  panels  amber  brown,  or  deep  green,  with  belt  panel  olive 
green;  running  parts,  a  trifle  lighter  green.  The  upper  and  lower  body 
panel,  in  ca.se  of  a  three-panel  job,  may  go  Indian  red,  center  panel  white; 
running  parts  Indian  or  Tuscan  red.  .  Letters  and  striping  done  in  gold  and 
white. 

A  popular  style  of  painting  the  ribbed  body  wagon  is  to  paint  body 
panels  dark,  rich  green;  chambers,  black;  running  parts,  vermilion.  Panels 
of  body  striped  primrose  or  orange  yellow;  running  parts,  black. 

However,  to  mention  in  detail  a  very  small  part  of  the  charming  color 
schemes  which  are  sought  and  displayed  in  painting  the  modern  business 
vehicle  would  reach  beyond  the  alloted  limit  of  this  chapter.  SuflSce  it  to 
say  that  the  painter  has  a  richly  blossoming  and  variegated  field  of  colors 
from  which  to  select  those  combinations  sanctioned  by  the  esteemed  and 
appropriate  standard  of  the  colorist's  art. 


IKi  PJiACTKWL  CARRIACfE  AND  WAGON  PAINTING. 

PAINTING  CANVAS  AND    CLOTH  TOPS. 

Fortmda  No.  i. — Use  of  white  vitriol  one-quarter  lb.  in  three  quarts  of 
soft  water,  adding  whiting  until  a  good  spreading  consistency  is  reached. 
Prime, outside  of  top  and  curtains.  This  leaves  the  material  nicely  flexible 
and  coats  the  texture  up  so  dense  and  full  that  a  couple  of  coats  of  paint  are 
saved.     Then  with  an  elastic  paint  coat  and  finish  in  the  usual  way. 

Forvnda  No.  2. — Coat  the  canvas,  barring  curtains,  with  rye  flour  paste, 
inside  and  out.  Permit  this  paste  to  dry  thoroughly.  With  No.  Yz  sand- 
paper polish  cloth  lightly  to  knock  off  nibs,  etc.  Then  coat  with  white  lead 
paint  mixed  with  one-third  raw  linseed  oil  and  two-thirds  coach  japan,  the 
mixture  cut  a  little  with  turpentine.  Next  coat  reduce  the  oil  to  a  trifle  less 
than  one-quarter  oil  to  one-half  japan,  one-quarter  rubbing  v'arnish,  the 
remainder,  turpentine.  Next  give  coat  white  color-and-varni.sh.  Rub  this 
coat  lightly  with  water  and  pumice  stone  (pulverized),  letter,  ornament,  and 
finish  with  a  durable  finishing  varnish. 

Formula  No.  3. — Size  with  hot  glue  water,  using  two  coats  twenty-four 
hours  apart.  Then  apply  coat  of  keg  white  lead  mixed  two-thirds  raw  lin- 
seed oil,  the  remaining  one-third  being  japan  and  turpentine,  equal  parts. 
After  five  days  apply  coat  of  lead  containing  three-eighths  oil,  two-eighths 
japan,  three-eighths" turpentine.  Then  apply  white  color-and-varnish.  Rub 
lightly,  letter,  and  finish.  This  is  not  adopted  to  a  limited  time  allowance. 

Formula  No.  4.. — Sponge  with  water  top  and  side  panels  or  curtains; 
permit  to  partly  dry  and  then  coat  with  lead  and  oil  coloring  strongly  in  the 
direction  the  final  color  is  to  be.  Reduce  the  quantity  of  oil  in  the  next  coat, 
and  in  lettering  use  enough  oil  in  the  colors  employed  to  give  the  requisite 
elasticity. 

To  paint  on  enameled  drill,  mix  the  pigment  with  raw  linseed  oil  and 
gold  size  japan,  equal  parts,  and  thin  to  the  proper  consistency  with  turpen- 
tine. In  judging  the  quantity  of  oil  used,  a  close  determination  of  the 
percentage  of  oil  contained  in  the  lead  should  be  made,  otherwise  an  exces- 
sive quantity  of  oil  is  apt  to  be  used. 

The  wagon  painter  frequently  has  to  letter  on  canvas,  duck,  or  some 
other  material  of  similar  texture  not  dressed  in  the  raiment  of  paint.  To  do 
this  successfully  various  expedients  are  re.sorted  to.  Some  workmen  prac- 
tice moistening  the  cloth  with  water  and  then  putting  on  the  letters  in  paint 
having  plenty  of  oil  in  it.  Others  draw  the  cloth  tight  and  firm  and  size  it 
with  a  solution  of  starch  and  water.  Proportions,  ^  water;  %  starch.  Allow 
this  size  to  dry  considerably  before  begiiming  to  letter.  Mix  the  lettering 
pigment  to  a  paste  form  in  elastic  rubbing  varnish  and  thin  with  turpentine. 
Still  others  make  a  size  of  cooked  starch  and  glue  water,  and  sponge  the 
parts  that  are  to  be  lettered.  After  the  letters  have  been  placed,  if  the  cloth 
should  prove  to  be  stiff  and  inelastic,  sponge  with  moderately  warm  water, 
in  this  way  abstracting  the  surplus  .size. 


CHAPTER  XIII. 

VEHICLE  REPAINTING:  HOW  THE  VARIOUS  CLASSES  OF  WORK  ARE 
DONE— MATCHING  COLORS— BURNING  OFF  PAINT— MATERIALS  USED 
IN  PAINTING— TREATMENT  OF  TOPS  AND  DASHES— WASHING  FIN- 
ISHED WORK— SCHEDULE  OF  PRICES,  ETC. 

THE  re-varnishing,  re-painting,  etc.,  of  vehicles  constitutes  an 
important  source  of  revenue  for  the  carriage  and  wagon  painter. 
Many  first-class  paint  shops  connected  with  high  grade  carriage 
manufacturing  establishments  do  a  heavy  business  in  re-painting  vehicles. 
The  writer  has  in  mind  a  firm  of  carriage  builders  located  not  far  from  the 
office  of  The  Western  Painter,  which  employs  a  force  of  from  sixty  to 
eighty  painters.  In  addition  to  painting  and  finishing  the  manufactured 
output  of  the  establishment,  consisting,  it  may  be  said,  of  anything  in  the 
carriage  line  from  a  tiny  road  buggy  to  a  dashing  four-in-hund  coach,  the 
force  is  yearly  credited  with  from  $30,000  to  $40,000  worth  of  re-painting, 
etc.  From  this  it  will  be  assumed  that  vehicle  repainting,  rightly  directed, 
aflFords  substantial  profits.  Were  it  otherwise  the  firm  in  question  would  not 
make  it  a  part  of  their  business. 

TOUCH-UP-AND-VARNISH. 

The  touch-up-and-varnish  job  is  supposed  to  reach  the  paint  shop 
showing  but  few  evidences  of  grim-visaged  service.  The  fact  that  it  doesn't 
uniformly  do  so  furnishes  the  painter  with  about  as  much  difficulty  in  satis- 
factorily handling  this  class  of  work  as  he  encounters  in  doing  those  classes 
which  have  a  more  troublesome  look  to  them. 

The  best  profits  to  be  gleaned  from  this  class  of  work  are  realized  when 
the  room  space  will  admit  of  locating  the  job  in  a  position  where  it  can  be 
handily  worked  at  without  much  unhanging,  and  where  plenty  of  light  may 
be  secured.  A  simple  removal  of  the  shafts,  wheels,  and,  if  necessary,  top, 
together  with  such  interior  furnishings  as  carpet,  cushion  storm  apron,  etc., 
will,  in  a  majority  of  cases,  suffice  to  clear  the  way  for  active  work  upon  the 
job,  provided  sufficient  room  space  is  at  command.  The  unhanging  of  some 
of  these  "touch  ups"  is  sometimes  an  expensive  item,  especially  when  rusty 
bolts  are  to  be  taken  out  and  replaced.  Therefore,  the  least  possible 
unhanging  should  be  practiced.  Once  the  necessary  parts  are  removed,  pro- 
ceed to  clean  off  the  grease  smears,  wiping  axle  arms  bright,  and  looking 
well  to  the  fifth  wheel.     Benzine  is  a  good,  quick  b'quid  agent  for  loosening 


118  PRACTICAL  CAiililA'^i:  ASD   WAdOX  J'AiNTIXG. 

grease,  etc.     If  top  is  left  upon  the  job  (and  it  should  be  in  most  cases,  when 

possible),  dust  out  the  lining  carefully,   cltan  outside   well,  then  clean    out 

the  body  interior,  after  which  give  the  outside  body  surface  a  light  pumice 

flour  and  water  rub   as  the   most   effective   means  of  ridding  it   of  possible 

greasy  patches,  dirt  nibs,  etc.     A  close,  hard  rubbing  should  be  avoided,  as 

upon  a  majority  of  surfaces  it  is  prone  to  disclo.se  checks  and  fissures,  minute 

or  otherwise,  which  a  single  co^tof  varni.'-h  will  only  serve  to  bring  out  more 

clearly,  rather  than  to  conceal.     The  body  rubbed  and   washed  thoroughly, 

the  running  parts  are  given  a  careful  rinsing  and  drying  off  with,  the  chamois 

skin. 

TOUCHING  UP. 

Matching  colors  preparatory  to  touching  up  is  probably  the  most  diffi- 
cult process  related  to  this  class  of  work.  To  match  colors  successfully  one 
must  have  a  correct  eye  for  colors.  To  distinguish  between  clo.sel 3'  related 
tints,  shades,  hues,  and  tones,  in  an  accurate  and  conclusive  way,  brings 
into  play  talents,  or  a  gift — call  it  what  >  ou  please — not  vouchsafed  to  the 
average  mortal.  This  is  one  important  feature  of  the  trade  that  practice 
does  not  make  perfect.  The  colorist  does  not  acquire  his  skill  by  practice 
merely. 

If  the  fading  of  colors  tended  in  one  general  way  and  to  something  like 
a  uniform  degree,  the  successful  matching  of  colors  might  be  controlled  in 
due  time  by  all  painters  interested  in  experimental  work.  Chemistry  and 
other  scientific  aids  to  color-making  have  wrought  mysterious  and,  to  the 
practical  man,  undemonstrable  factors  in  carriage  colors.  As  a  result,  colors 
fade  in  all  the  varying  degrees  imaginable,  and  are  subject  to  .so  many  influ- 
ences that  their  control,  as  a  rule,  is  quite  beyond  the  skill  and  practical 
knowledge  of  the  painter. 

Many  of  the  colors,  notably  the  radiant  reds  lately  so  fashionable,  are 
naturally  .so  fugitive  that  unless  extraordinary  care  is  exercised  in  preparing 
the  groundwork,  they  quickly  fade;  and,  their  original  identity  once  lost,  it 
is  a  feat  beyond  the  ability  of  the  most  masterful  colorist  or  color  matcher  to 
restore.     To  a  less  extent,  perhaps,  other  colors  operate  in  the  same  way. 

The  question,  therefore,  presents  itself: — Is  not  the  best  way  to  match 
colors  to  prevent  their  fading,  so  far  as  prevention  can  be  made  to  apply? 
One's  doctor  will  affirm  that  a  niomul  of  prevention  is  worth  a  mountain  of 
cure. 

It  is  not  expected  to  make  this  prevention  so  sweeping  and  effectual  as 
to  merit  the  title  of  a  cure-all.  But  preventive  measures,  diligently  prac- 
ticed, will  lessen  the  fading  evil,  and  thus  reduce  the  work  of  matching 
colors  to  the  minimum.  The  mixing  of  colors,  as  already  alluded  to  in 
these  chapters,  should,  so.far  as  it  is  within  the  power  of  enlightened  paint 
shop  knowledge,  be  made  an  exact  process.  Carelessness  and  guess  work 
are  not  to  be  tolerated.  Exact  measurements  of  all  the  ingredients  which 
go  into  a  batch  of  color  or  paint  are  necessary.     Then  a  firm  insistence  upon 

i 


PRACTICAL  CARRIAGE  AND  WAGON  PAINTIXG.  119 

hardy,  durable  grounds,  regardless  of  the  hurrying  shouts  of  the  populace, 
is  in  order.  A  fugitive  red,  or  any  other  fugitive  color,  as  a  matter  of  fact, 
is  given  a  support  that  will  add  to  its  permanency,  by  adjusting  the  ground 
color  with  such  a  strong  binder  of  varnish  that  the  color  has  a  "live  look"  to 
it — an  approach  to  a  faint  egg-shell  gloss,  let  us  say.  The  retention  of  the 
final  color's  original  purity  and  strength  is  in  this  way  made  more  perma- 
nent. 

In  color  matching,  however,  which,  despite  our  best  efforts,  must 
continue  to  be  a  part  of  paint  shop  practice,  it  is  best  to  take  over  to  the 
mixing  bench  a  certain  part  of  the  work  to  be  touched  up,  and,  touching  a 
few  inches  of  space  with  varnish  so  that  it  can  be  seen  what  the  spots  and 
what  the  color  as  a  whole  will  look  like  under  a  fresh  coat  of  varnish,  pro- 
ceed to  gauge  the  matching  color  to  it.  It  is  a  principle  adhered  to  by  many 
skilled  workmen  in  the  matching  of  colors  that  the  touch-up  color  should 
contain  sufficient  varnish  to  cause  it  to  dry  with  a  stout  gloss.  A  color  fur- 
nished with  a  strong  varnish  gloss  will  reflect  more  light  than  it  will  absorb, 
and  vice  versa.  And  the  color  which  in  process  of  drying  absorbs  more  light 
than  it  reflects,  will,  as  a  rule,  when  varnished  over,  be  a  different  color  (pr 
a  different  shade,  hue,  or  tint  of  that  color)  than  it  looked  to  be  in  the  mixing 
pot  or  on  the  surface  after  it  had  simply  dried  free  from  "tack."  An  absorp- 
tion of  light  has  effected  a  chemical  or  other  change  in  it,  and  what  was 
judged  as  a  close  match  proves  a  wide  departure  from  it.  Even  with  the 
counteracting  agency  of  varnish,  a  color  is  pretty  sure  to  dry  out  lighter 
than  it  appears  in  the  mixing  cup,  so  that  close  calculation  and  the  exercise 
of  the  colorist's  art  in  a  fine  way  is  needed  to  get  the  desired  match. 

The  touch-up  color  having  been  satisfactorily  prepared  and  tested,  the 
felloes  and  all  places  on  the  job  worn  bare  to  the  wood  being,  in  the  mean- 
time, touched  with  lead  and  oil,  the  work  of  touching  first  the  body  and 
then  the  running  parts  is  carried  along. 

Then  the  dressing  of  the  top,  side  curtains,  and,  if  need  be,  the  dash, 
ensues.  The  interior  of  the  body  is  next  varnished,  then  the  outside  surface 
is  flowed,  and,  finally,  the  running  parts. 

Coming  next  to  the  touch-up-and-varnish  job,  and  by  many  painters 
regarded  as  belonging  to  the  same  class,  is  the  job  that  gets  one  coat  of  color, 
striping,  and  one  coat  of  varnish.  This  job  offers  an  opportunity  for  decep- 
tion of  which  the  paint  shop  graduates  in  the  school  of  intellectual  villainy 
are  quick  to  take  advantage.  They  solemnly  assure  the  prospective  cus- 
tomer that  they  -^iW  paint  his  vehicle  for,  say,  $6,  the  price  asked  ordinarily 
for  the  color  and  one  coat  varnish  job.  The  stranger,  caught  by  the  price 
and  the  alluring  prospect  of  getting  iho.  ]oh  paifttcd,  responds  to  the  "hold 
up"  until  the  dishonesty  of  the  thing  is  revealed,  as  it  is  sure  to  be,  by 
the  exacting  needs  of  service.  The  color,  stripe,  and  varnish  job 
calls  for  no  little  dexterity  in  many  cases,  in  placing  the  color  directly 
over  a  hard,  flinty  surface  of  paint  and  varnish  and    making  it  stay  for  a 


120  rUACTICAL  CAIiRIAdE  AXD   WAdUy  PAIXTING. 

reasonable  term  of  service.  The  surface  once  cleaned,  as  per  directions  in  the 
preceding  case,  the  body  is  given  a  light  rub  with  water  and  pumice  stone 
flour,  and  the  gear  is  treated  to  a  smart  smoothing  off  with  fine  sandpaper. 
These  fine,  and,  to  the  naked  eye,  almost  invisible  scratches  and  furrows, 
suffice  to  afford  a  foothold,  a  gripping  place,  for  the  color.  These  hard, 
adamantine  surfaces  over  which  quick  colors  are  often  necessarily  placed 
may  be  classed  as  prolific  sources  of  color  flaking  and  chipping.  In  addition 
to  the  sandpapering  as  a  means  of  promoting  durability,  the  use  of  a  strong 
binder  of  varnish  in  the  color  is  advised.  The  one  coat  color,  stripe,  and 
varnish  job  is  quickly  done  and  should  afford  a  good  profit. 

The  color,  color-and- varnish,  stripe,  and  finish  job  simply  means  a  coat 
of  color-and-varnish  applied  over  the  color  after  it  has  been-  placed  as  just 
described.  Then  a  "mossing"  or  rubbing  with  hair  to  the  extent  of  knocking 
of  the  gloss  of  the  color-and-varnish,  striping,  and  finishing,  the  body  surface, 
of  course,  to  get  a  rather  light  rub  with  water  and  pumice  stone,  both  before 
applying  the  color  and  after  applying  the  color-and-varnish.  Should  the 
body  surface  show  signs  of  being  fissured  and  cracked  somewhat,  it  were 
better  to  forego  the  rubbing  with  pumice  stone  and  water,  substituting 
therefor  a  dressing  down  with  No.  )^  sandpaper.  This  provides  against 
moisture  getting  into  the  checks  and  causing  trouble. 

Following  in  the  wake  of  the  above  class  of  work  come  the  jobs  that  are 
afflicted  with  all  sorts  and  conditions  of  surface  ailments;  jobs  that  ought 
properly  to  be  burned  off  if  the  owners  could  be  convinced  of  the  economy 
of  the  process.  One  way  of  treating  a  body  surface  threaded  with  fissures 
consists  of  taking  a  two-inch  scraper,  such  as  car  painters  use,  made  of  a  file 
cranked  over  at  both  ends  so  as  to  give  two  cutting  blades,  and  scraping  the 
varnish  completely  off  down  to  the  undercoatings  of  color  and  paint.  Follow 
the  scraping  with  a  quick  rubbing  with  lump  pumice  stone  or  a  fine  grade  of 
brick  and  water,  avoiding  even  a  clo.se approach  to  the  wood.  Inmost  ca.ses 
the  cracks  will,  by  this  process,  be  pretty  cleanly  removed;  when  they  are 
not  entirely  slicked  off  the  remaining  vestiges  are,  as  a  rule,  so  faintly  traced 
as  to  give  no  further  trouble  when  bridged  over  by  the  coats  of  lead,  color, 
and  varnish.  The  rubbing  once  completed,  the  surface  is  given  time  to  dry 
out  thoroughly;  then  .sanding  with  No.  0  ensues,  this,  in  turn,  giving  way  to 
a  coat  of  facing  lead  mixed  to  dry  without  gloss,  the  lead  being  colored  to  a 
decided  slate  shade  with  lampblack.  Apply  with  a  camel's-hair  brush. 
vSandpaper  this  coat  with  No.  >^  paper;  th-en  apply  color,  and  finish  out  as 
previou.sly  advised  in  these  chapters.  If  a  different  plan  of  filling  up  is 
preferred,  cut  down  the  surface  with  No.  2  sandpaper,  and  first  apply  a  lead 
coat  mixed  of  ys  raw  lin.seed  oil  to  73  turpentine.  In  4.S  hours  give  a  coat 
of  roughstuff  made  of  keg  lead  and  filler,  equal  parts  by  weight,  thinned  to 
a  stiff  paste  with  rubbing  varnish  and  japan,  half  and  half,  and  then  reduced 
to  a  free  brushing  consistency  with  turpentine.  First  puttying  should  be 
done  on  the  lead  coat,  and  the  second  one  on  the  first  filler  coat.     A  couple 


PRACTICAL  CATililAGE  AND  WAHOX  J'MXTIXG.  121 

more  of  rough  stuff  coats  will  i-uffice  to  give  the  needed  body  of  rubbing  pig- 
ment. Thus  the  old  flinty  foundation  is  furnished  with  the  requisite  elas- 
ticity through  the  medium  of  the  oil  lead  coat.  The  roughstuff  foundation 
is  made  to  dry  hard  and  firm,  like  unto  the  condition  of  the  old  foundation 
itself,  and  in  this  way  an  affinity  between  the  old  and  the  new  is  established. 

Another  foundation  is  quickly  builded  by  taking  any  good  roughstuff 
filler  and  reducing  it  to  a  spreading  consistency  with  shellac,  the  first  coat, 
however,  being  made  a  bit  thinner  in  body  than  the  succeeding  coats,  so  that 
it  will  more  readily  penetrate  the  cracks.  Three  coats  of  this  preparation 
usually  suffices  to  yield  the  necessary  foundation  free  from  fissures  or  other 
blemishes.  The  roughstuff  filler  and  shellac  make  a  compound  remarkably 
quick  setting;  hence,  it  must  be  worked  very  quickly  if  smoothness  of  appli- 
cation would  be  achieved. 

Again,  it  is  the  practice  in  some  quarters  to  sandpaper  the  old  surface 
down  as  close  as  possible,  giving  a  stout  coat  of  lead  mixed  with  }{  oil  to  ^ 
turpentine,  and  when  this  coat  has  dried  for  a  couple  of  days,  putty  all  the 
deep  cavities,  following,  the  day  after,  with  a  glazing  of  putty  over  the  sur- 
face, the  glazing  being  done  with  a  broad  putt}^  knife,  and  the  putty  being 
worked  out  to  a  uniform  film  and  as  smooth  as  possible. 

In  respect  to  the  running  parts,  all  flaky,  shelly  patches  of  surface 
should  be  scraped.  All  torn  and  shredded  places  require  smoothing  down 
nicely  with  scraper  and  sandpaper.  The  old  remaining  paint  should  be  per- 
fectly solid  and  secure.  The  parts  cleaned  and  scoured  to  the  bare  wood 
had  best  be  given  a  lead  coat  containing,  as  one  of  its  liquid  ingredients,  at 
least  }i  linseed  oil.  The  second  coat,  applied,  like  the  first,  with  a  camel's- 
hair  brush,  may  contain  merely  a  binder  of  oil,  avoidance  of  gloss  being,  a 
strictly  observed  rule.  Then  putty  deep  holes  and  indentations,  following 
this  with  draw  puttying  all  parts  in  need  of  such  treatment.  Upon  this  lead 
coat,  or  a  second  one  if  the  owner  is  not  averse  to  paying  for  it,  the  finish  is 
reached  in  the  usual  way,  as  advised  in  a  former  chapter.  In  painting  over 
these  cracked,  flaky,  and  insecure  foundations,  the  first  principle  to  be  ob- 
served is  to  get  the  shaky,  shelly  material  completely  removed,  leaving 
nothing  but  the  finu  and  securely  fastened  pigment.  The  second  .one  is  to 
secure  as  thorough  an  amalgamation  of  the  old  and  new  materials  as  practical 
paint-shop  knowledge  and  .skill  will  insure. 

BURNING  OFF  PAINT. 

However  good  the  crack-filling  formulas  may  be,  they  are  at  best  only 
expedients  of  temporary  value.  Burning  off  the  paint,  thus  getting  a  sure 
foundation  from  the  wood  itself,  is  effective  and  free  from  those  injurious 
effects  which  are  so  often  characteristic  of  paint  removing  preparations,  etc. 
As  in  the  past  affirmed  by  the  writer,  "with  the  old  more  or  less  shaky  foun- 
dation, concerning  the  exact  nature  of  which  no  man  knoweth,  fairly  and 
cleanly  removed,  the  painter  is  enabled  to  work  from  the  foundation  coat  to 


12ii  PRACTICAL  CARRIAGE  AND  WAGOX  PAINTING. 

the  finish  with  the  bright  light  of  knowledge  concerning  the  preparation  and 
application  of  the  materials  used,  drying,  action,  etc.,  flashing  through  his 
mind."  This  is  why  burning  off  is  so  much  more  satisfactory,  usually,  to 
the  painter.  Iii  the  lingo  of  the  street,  he  knows  "where  he  is  at,"  and  the 
measure  of  security  afforded  him. 

To  do  first-class  paint  burning — and  the  other  kind  is  not  to  be  consid- 
ered in  these  chapters — the  workman  must  be  provided  with  a  strictly  reli- 
able and  good-working  lamp,  burning  gasoline  or  naphtha.  To  be 
maintained  in  a  condition  to  render  satisfactory  results,  the  flues  and  mech- 
anism require  thorough  cleaning  and  inspection  before  the  lamp  is  laid 
away  after  use.  No  unused  fluid  should  be  allowed  to  remain  in  the  reser- 
voir of  the  lamp  when  it  is  not  in  use,  as  the  vapor  arising  therefrom  will 
very  shortly  deposit  a  film  of  sticky  substance  on  the  surface  of  the  flues  that 
will  prevent  a  smooth  and  even  flame  when  the  lamp  is  again  put  into  use. 
And  eventually,  if  the  flues  are  permitted  to  become  more  or  less  choked  up 
in  this  way,  the  lamp  will  refuse  to  work  at  all.  Explosions  and  accidents 
of  many  kinds  are  possible  with  the  lamp  that  is  allowed  to  log  and  gum 
up.  The  burning  lamp  should  be  kept  in  a  clean  place,  and  show  a  clean, 
bright  surface,  both  interior  and  exterior.  A  couple  of  putty  knives,  one 
narrow  and  one  broad  blade,  a  good,  serviceable  glove  or  mitten  provided 
with  a  wrist  and  half-arm  sleeve,  and  a  leather  apron  reaching  well  up  to  the 
workman's  chest,  belong  to  the  burner's  kit,  and  should  be  kept  in  close 
company  with  the  lamp. 

The  operation  of  burning  consists  in  simply  directing  the  flame  upon 
the  surface  long  enough  to  soften  up  the  pigment  and  permit  of  its  easy 
removal  with  the  knife.  In  a  way,  "  burning  off""  is  a  misnomer.  To 
literall}^  burn  the  paint  off,  as  the  apprentice  might  possibly  construe  the  term 
if  not  otherwise  enlightened,  would  result  in  charring  the  wood  to  a  harmful 
extent.  Begin  burning  at  a  part  of  the  surface  which  will  allow  the  softened 
paint  to  be  thrown  off  over  a  portion  of  the  surface  still  coated  with  paint. 
As  the  knife  is  usually  handled  with  the  right  hand  it  is  best  to  begin  burning 
on  the  left  side  of  the  panel.  Thus  the  softened  paint  is  thrown  to  the  right 
and  across  the  unburned  portion  of  the  surface.  It  is  a  wise  rule  to  remember, 
in  connection  with  this  work,  that  a  job  burned  right  is  in  a  fair  way  to  be 
painted  right.  If  through  an  accident  or  otherwise  the  surface  should  get 
scorched  in  places,  a  complete  scraping  out  of  the  burned  wood  fibres  will  be 
necessary.  Then  with  equal  parts  of  raw  linseed  oil  and  turpentine  touch 
just  the  charred  patches.  After  a  solid  block  sandpapering,  the  surface  may 
be  taken  in  hand  and  conducted  to  a  finish  in  the  usual  way. 

TABLE  OF  MATERIALS  USED  IN  PAINTING  VEHICLES. 
For  a  landau: — 

BODY. 

Priming 2  quarts 

Lead ly^     " 


PRACTICAL  CARRIAGE  AM)  WAdON  iWISTlSd.  12;J 

Putty ^  to  \y2  lbs. 

Sandpaper 10  sheets 

Roughstnff   (four  coats) 1  gallon 

Guide    coat ^  quart 

Color  (per  coat)'. 1  pint 

Color-and- varnish  (2  coats) 1^  quarts 

Clear  rubbing  (1   coat) iyi  pints 

Coat  of  finishing 1^     " 

RUNNING    PARTS. 

Priming 1  ^  quarts 

Rub  lead \%     " 

Lead  coat 1         " 

Putty %  lb. 

Sandpaper 12  sheets 

Color 1  pint 

Color-and-varnisli  (per  coat) 1^  pints 

Clear  rubbing 1>4     " 

Coat  finishing 1  quart 

In  the  case  of  a  Berlin  coach,  perhaps  the  quantity  of  each  item  of 
material  should  be  increased  over  the  above  to  the  extent  of  %  for  the  body 
surface.  Running  parts  require  the  same  quantity.  The  body  of  a  six-pas- 
senger rockaway  will  need,  approximately,  }i  less  material  than  the  body  of 
the  landau  or  couch.  The  body  of  the  coupe-rockavva,y  ^  less.  Running 
parts  consume  about  the  same  quantity  as  the  heavier  vehicles  here  named. 

The  quantity  of  varnish  nanijd  for  the  above  vehicles  provides  for  toe- 
boards,  checks,  steps,  bottoms,  etc. 

For  buggies  of  the  various  styles: 

BODY. 

Priming s/^  pint 

Lead  %     " 

Putty : %  lb. 

Sandpaper 6  sheets 

RoughstufF  (4  coats) 1  quart 

Color  (2  coats) 1  pint 

Lampblack  (for  bottoms) ]^     " 

Color-and-varnish ^     " 

Clear  rubbing   (2  coats) 1     " 

Finishing  varnish ^ 

Varnish  in  color  and  filler • 1     " 

RUNNING    PARTS> 

Priming ti^pint 

Lead  (2  coats) l^'-" 

Putty H  lb. 

Sandpaper 12  sheets 

Color 1  pint 

Color-and-varnish l}{   " 

Clear   rubbing IjJ    " 

Coat  of  finishing 1^    " 


124  riiACTR'AL   CAIililAdE  AM)   UAdUX  PAINTING. 

Such  light  pleasure  vehicles  as  surreys,  cabriolets,  etc.,  require  an 
increase  in  the  quantity  of  each  item  of  material  over  that  accorded  to  the 
buggies  and  phaetons  of  about  one-half. 

The  above  tables  may  be  of  benefit  to  some  of  my  readers  who  desire  ^ 
practical  basis  upon  which  to  estimate  the  cost  of  the  material  to  be  used 
upon  a  certain  vehicle.  Labor  is  said  by  competent  authorities  to  represent 
75  per  cent  of  the  cost  of  painting  a  vehicle.  With  the  cost  of  material  at 
hand — a  computation  made  comparatively  easy  by  the  aid  of  the  tables  here 
set  forth — and  with  75  per  cent  of  the  whole  cost  credited  to  the  labor  item, 
a  very  close  estimate  upon  general  vehicle  painting  can  be  made. 

Guess  work  in  gauging  the  price  of  a  job  of  vehicle  painting  paves  the 
way  to  an  unprofitable  business  venture;  more  surely  in  these  days  of  up- 
roarious competition  than  in  times  past.  Careful  estimates,  which  include 
cost  of  labor,  material,  shop  rent,  wear  and  tear  of  tools,  and  such  other 
incidental  features  of  business  which  may  properly  be  taken  note  of-  in  an 
estimate,  have  come  to  be  imperative  necessities  in  carriage  and  w^agon 
painting.     Verily,  it  is  true  that  it  is  not  all  of  painting  to  paint — estimating 

should  be  included  therein. 

TOPS  AND  DASHES. 

The  proper  care  and  treatment  of  carriage  tops  and  dashes  forms  one  ot 
the  significant  features  of  the  re-painting  business.  About  every  class  of 
citizens  who  have  to  do  with  carriages — the  trimmer,  harness-maker,  livery 
man,  blacksmith,  hack-driver,  and  jockey — regularly  come  forward  bubl^ling 
over  with  advice  and  formulas  for  the  preservation  of  tops;  but  usually  the 
paint  shop  is  resorted  to  as  the  Court  of  Appeal.  The  aim  of  the  painter 
should  be  to  impart  to  the  top  and  dash  a  finish  which  will  correspond  to 
that  given  the  other  parts  of  the  vehicle,  at  the  same  time  furnishing  the 
leather  or  rubber  a  preservative  agent  that  will  provide  reasonable  durability. 

In  every  jobbing  paint  shop  a  space  should  be  set  apart  for  the  safe  and 
clean  storage  of  tops  and  dashes;  also  cushions,  carpets,  and  other  interior 
furnishings.  In  the  space  selected  for  the  purpose  a  rack  made  to  conform 
to  the  size  of  the  .space  may  be  erected.  Build  it  to  consist  of  two  tiers,  with 
a  half-story  tier  above  for  the  holding  of  cushions,  carpets,  etc.  If  the  space 
is  large  enough,  make  the  rack,  say,  12  feet  long,  10  feet  high,  and  4  feet 
wide.  The  two  first  tiers  will  hold  six  buggy  tops.  The  rack  is  made  of 
1-inch  and  2-inch  stuff,  hemlock,  say,  and  need  not  cost  to  exceed  $1.50. 
Tops  that  are  regularly  calashed  will  require  only  half  .space.  Under  no 
circum.stances  .should  a  top  be  calashed  and  stored  away  in  the  shop  unless 
it  has  been  used  and  subject  to  such  treatment.  The  top  (and  the  dash  also, 
when  removed),  upon  removal  .should  be  cleaned  thoroughly  before  being 
.set  away.  If  the  top  joints  need  a  coating  of  lead  it  should  be  given  them 
prior  to  placing  them  in  the  rack  or  permanent  .storage  place.  It  is  bad 
jjolicy  to  defer  painting  and  finishing  such  parts  until  it  is  nearly  time  to 
hang  off  the  other  parts  of  the  vehicle.     A  uniform  quality  of  finish   cannot 


PRACTICAL  CARRIAGE  AND  WAGON  I'M  NT  I  Nd.  125 

in  this  way  be  secured.  The  irons  on  tops,  if  chipped,  rusted,  etc.,  require 
lead,  often  a  facing  with  putty,  color,  color-and-varnish,  a  light  rub  with 
pumice  stone  flour  and  water,  and  finishing  with  a  good  hard  drying  varnish. 
A  few  days  before  the  vehicle  is  finished  the  top  belonging  to  it  may  be  taken 
in  hand,  the  lining  carefully  dusted  out,  and  the  leather  o'  rubber  sponged 
off  and  dried  over  with  a  chamois  skin.  The  further  treatment  may  depend 
upon  the  material  of  which  the  top  is  composed.  A  great  many  vehicle 
owners,  livery  men  in  particular,  prefer  to  have  leather  tops — except  the 
badly  worn  ones —  go  without  a  dressing  of  any  kind,  a  simple  washing  with 
castile  soap  and  soft  water  being  thought  to  amply  suffice.  Hand-bulTed 
leather  tops  in  good  condition,  in  the  writer's  estimation,  require  no  dressing; 
the  machine-buffed  ones,  however,  are  benefited  by  a  thin,  evenly-applied 
coat  of  some  strictly  reliable  enamel  top  dressing.  And  it  is  pertinent  here 
to  say  that  even  the  best  of  dressings,  those  which  long  usage  has  sanctioned 
as  of  established  value,  are  of  such  a  nature  that  they  are  beneficial  only 
when  applied  sparingly,  A  dressing,  to  be  genuinely  useful  to  the  carriage 
painter,  should  preserve  the  enamel  of  a  top,  strengthen  the  leather  or 
rubber,  and  enable  it  to  retain  its  natural  flexibility  for  the  longest  possible 
period. 

If,  then,  the  top  be  rubber  or  machine-buffed  leather,  apply  dressing, 
not  forgetting  the  side  curtains.  If  a  leather  top  and  the  owner  wishes  it  to 
be  given  some  preparation  other  than  the  regulation  enamel  top  dressing  of 
commerce,  the  following  formulas  may  be  used,  the  two  first  being  particu- 
larly beneficial  to  the  leather. 

Formula  No.  i. — Neatsfoot  oil,  1  pint,  beef  suet,  ^  lb.  Melt  the  oil  and 
suet  together.  Then  add  a  tablespoonful  of  melted  beeswax,  mixing  the 
ingredients  carefully,  and  confining  in  an  air-tight  vessel.  The  beeswax  has 
a  cooling  property  greatly  to  be  desired  in  a  leather  preservative. 

Formula  No.  2. — Darken  neatsfoot  oil  with  a  drop  black.  Apply 
sparingly  and  rub  out  well  with  soft  rags.  This  formula  does  not  give  the 
brilliancy  of  finish  that  an  enamel  dressing  does,  but  it  gives  to  the  leather  a 
softness  and  pliability  not  obtained  otherwise. 

Formula  No.  j. — Adapted  for  either  rubber  or  leather.  Of  finishing  var- 
nish, 1  quart;  bee.swax,  1  oz;  drop  black,  sufficient  to  color  mixture  properly. 
Thin  to  a  brushing  consistency  with  the  turpentine.  The  worth  and  reli- 
ability of  No.  8  is  vouched  for  by  a  jobbing  shop  painter  of  twenty-five  years' 
experience. 

Formula  No.  ^. — This  provides  for  the  use  of  boiled  linseed  oil  stained 
with  drop  black  thinned  with  turpentine.  Apply  this  preparation  with  a 
brush,  rubbing  it  out  well  and  uniformh*.  Set  aside  for  30  minutes;  then 
with  clean  soft  rags,  rub  the  mixture  off,  polishing  until  a  clean  cloth  shows 
no  stain  when  rubbed  over  the  leather.  Places  which  show  cracks  and  hard 
service  will  need  a  second  coating  with  the  mixture.  The  leather  is  not 
thickened  with  this  mixture,  has  no  unusual  attraction  for  dust  and  dirt,  and 
will  remain  soft  and  flexible. 


126  PRACTICAL  CAERIAGE  Ayn  WAGCN  PAINTING. 

Finegrained  leather  dashes,  fenders,  etc.,  which  do  not  look  worn  or 
rusty,  appearing  only  soiled  and  somewhat  smeary,  maj'  be  gone  over  with 
a  cloth  saturated  lightly  with  kerosene  oil,  and  then  polished  with  soft 
woolen  rags. 

The  commoner  grades  may  be  given  patent  enamel  dressing,  or,  if  pre- 
ferred, a  thin  coat  of  drop  black  rubbed  off  immediately  with  soft  rags  and 
then  flowed  with  a  first-class  finishing  varnish.  If  much  worn,  they  may 
be  greatly  freshened  up  and  renewed  if  treated  with  some  of  the  formulas 
given  herewith. 
MARKING  AND  METHODS  OF  IDENTIFYING  VEHICLES  AND  THEIR  PARTS. 

The  jobbing  paint  shop  requires  and  should  be  given  a  system  of 
marking  and  tabulating  all  work  taken  in,  so  that  when  the  finish  is  reached 
and  hanging  ofF  occurs,  valuable  time  need  not  be  wasted  in  searching  for 
mislaid  and  unidentified  parts,  such  as  cushions,  carpets,  storm  aprons,  and 
the  like.  Unless  each  part  is  carefully  marked  with  a  properly  filled  out, 
tag  attached  to  said  part,  and  an  itemized  entry  made  in  the  receiving  book 
fitted  with  printed  forms,  a  filled  out  form  being  given  the  vehicle  owner 
and  a  duplicate  copy  retained  by  the  painter,  "confusion  worse  confounded" 
ma}'  be  expected  to  occasionally  occur.  The  following  is  a  blank  form  which 
the  writer  several  years  ago  published  and,  having  seen  it  in  use  in  the 
painting  business,  he  can  cheerfully  endorse  its  merits  as  a  practical  working 
form: 

RECEIVED    FROM 

BY 


DAY  MONTH  DATE 

RECEIVED   ON -. 

TO    BE   FINISHED   ON 


ARTICLES    LEFT    WITH 


REMARKS. 


WASHING  FINISHED  WORK. 


The  duty  of  the  painter  does  not  end  witli  the  hanging   on  of  the  fin- 
ished vehicle.     He  has  still  one  other  important  mission  to  perform,  namely, 


PRACTICAL  CARIilAdE  AND  WAGOX  PAIXTINC.  127 

proffering  advice  to  the  vehicle  owner  upon  the  preservation  of  carriage 
surfaces.     Such  advice  may  be  directed  along  the  fallowing  lines: — 

Carriages  require  storage  in  apartments  free  from  dampness,  furnished 
with  plent}'  of  light,  invited  if  possible,  from  all  sides,  and  entirely  removed 
from  the  stable  and  its  attendant  emanations  of  ammoniacal  gases.  Ammonia, 
make  the  vehicle  user  understand,  is  a  deadly  enemy  to  colors  and  varnish. 
Brick  walls  may  also  correctly  be  classed  as  paint  and  varnish  enemies 
causing  loss  of  histre  and  general  deterioration  A  newly-varnished  v^ehicle 
surface  is  greatly  benefited,  once  the  varnish  is  sufficiently  hard  to  permit 
it,  by  frequent  washings  with  clean  cold  water.  Premature  water  baths, 
however,  are  to  be  avoided,  .save  when  made  absolutely  neces.sary  by  reason 
of  mud  spotting  or  other  accidents  of  that  order.  The  suggestion  one  hears 
occasionally  offered  to  the  effect  that  a  surface  may  be  safely  rinsed  with 
water  three  days  after  being  finished  is  not  founded  upon  practical  paint- 
shop  or  varnish-making  philosophy,  so  long  as  it  is  made  to  apply  to  a  high- 
grade  elastic  varnish.  Such  a  varnish  may  be,  to  a  mere  finger  touch,  quite 
dr3',  but  in  reality  only  the  outer  film  is  partially  dry,  and  putting  it  into  ser- 
vice or  submitting  it  to  a  cold  water  bath  are  each  in  their  turn  risky  exper- 
iments. The  fact  that  an  elastic  varnish  has  reached  the  free-from-dust 
drying  stage  should  not  be  taken  as  a  trustworthy  indication  that  the  time 
for  washing  has  arrived. 

There  is  no  question  concerning  the  benefit  of  a  cold  water  rinsing  to  a 
varnish  surface  that  has  well  hardened  as  to  its  outer  film.  Frequent  wash- 
ings will  then  improve  its  lustre  and  durability.  It  must  always  be  taken 
into  consideration  that  in  the  case  of  first-class  painting,  assimilation  of  the 
various  varnish  coats  ensues,  and  a  fair  measure  of  time  is  therefore  neces- 
sary after  the  aplication  of  the  finishing  coat  ere  the  washing  can  be  safely 
given.  In  washing  a  varnish  surface,  gaseous  impurities  which  so  readily 
accumulate,  are  removed. 

Varnish,  when  at  a  certain  temperature,  is  su.sceptible  of  contraction 
when  any  colder  body  is  brought  in  contact  with  it.  This  is  the  controlling 
principle  of  varnish  w-ashing.  The  contraction  of  a  not  properly  hardened 
varnish,  after  cold  water  is  applied  to  it,  causes  the  liquid  gas  of  the  varnish 
to  escape  through  the  medium  of  evaporation.  Drying,  according  to  the 
natural  laws  of  drying,  a  varnish  retains  those  elements  which  add  to  its 
brilliancy  and  elastic  properties.  Wlien  forced  to  dry  by  virtue  of  premature 
cold  water  flooding,  unfavorable  results  may  be  expected  to  follow. 

Washing  a  newly-varnished  vehicle  should  never  occur  under  the  bright 
glare  of  the  sun.  Plenty  of  water  flooded  gently  upon  the  surface  with  a 
soft  sponge  is  a  necessity  in  the  washing  process.  Dirt  accumulations,  if 
any,  are  softened  and  carried  from  the  surface  under  the  volume  of  water. 
After  a  careful  sponging,  the  surface  may  be  dried  off  nicely  with  a  clean 
lint-free  chamois  skin.  If  a  hose  be  u.sed,  it  should  be  adroitly  wielded,  and 
the  stream  so  gauged  that  no  harm  can  come  to  the  surface  from  the  water 


128  PRACTICAL  CARRIAGE  AND  WAGON  PAINTING. 

pressure.     The  hose  in  the  hands  of  an  incompetent  coachman  is  the  cause 
of  a  great  many  accidents  to  freshly  laid  varnish. 

Caution  the  washer  against  wetting  the  inside  of  the  carriage  body. 
Glue  joints,  etc.,  do  not  strongly  resist  the  attacks  of  water.  Under  no  cir- 
cumstances permit  water  to  dry  on  the  surface.  Stains  more  or  less  pro- 
nounced are  almost  sure  to  follow.  Hot  water,  soapy  water,  or  water  not 
strictl}'  clean  .should  not  be  allowed  to  come  in  contact  with  a  surface  of 
varnish.  Do  not  allow  mud  to  dry  upon  the  surface.  Wash  it  immediately 
upon  its  return  to  the  carriage  house  after  being  run  in  the  mud. 
SCHEDULE  OF  PRICES  FOR  RE-PAINTING. 

The  prices  here  given  are  presented  in  the  nature  of  a  working  plan  for 
the  benefit  of  painters  located  in  the  smaller  towns  and  villages  of  the 
country.  The  schedule  is  subject  to  revision  or  correction  in  localities  where 
the  prevailing  grade  of  work  does  not  warrant  the  adoption  of  the  prices 
herein  set  forth. 

Touch- up  and  varnish  buggy  or  phaeton  (dress  top  if  necessary). .  .$  5.50 
Rubbing  bodies   of  abov^e   jobs,    give  coat   of  color    throughout 

bodies  and  gears,  stripe  and    finish 7.00 

Extra  coat  of  varnish  to  above  jobs 2.00 

Burning  paint  off  body  of  phaeton  or  buggy,  surfacing  gears  with 

lead  and  re-painting  throughout 15.00 

Burning  paint  from  gear 3.00 

Touch-up  and  varnish  surrey 7.00 

Extra  coat  of  varnish  for  above  job 3.00 

Extra  coat  of  varnish    for  body l.,50 

Painting  surrey  throughout 14.00 

Burning  paint  off  entire  job  and  re-painting 20.00 

Touch-up  and  varnish  cabriolet 10.00 

Extra  coat  of  varnish   for  above  job 4.00 

Extra  coat  of  varnish  for  body 2.00 

Painting  cabriolet  first-class  throughout 23.00 

Burning  paint  off  body 3.00 

Burning  paint  off  job  entire  and  painting 30.00 

Touch-up  and  varnish  a  four  or  .six  pa.ssenger  rockaway 20.00 

Additional  coat  of  varnish  for  above  job 10  0(J 

Surfacing  upon  the  old  paint  structure  and  re-painting 40.00 

Burning  off  body  and  re-painting  job 50.00 

T<Mich-up  and  varnish  brougham  or  landau 25  00 

Surfacing  and  painting  over  the  old  paint  structure 48.00 

Burning  paint  off  body,  re-painting,  and  finishing  throughout 60.00 

Touch-up  and  varnish  Berlin  coach 30.00 

Surfacing  and  painting  upon  the  old  paint 55.00 

Burning  paint  off  body,  re-painting  and  finishing  entire 70.00 

Painting  and  finishing   hearse 45.00 

Burning  paint  off  body,  re-painting,  and  finishing  job  entire 55.00 

Touch-up  and  varnish    hearse 20.00 

Platform  wagons:  surfacing  and  painting  upon  old  paint  structure  12.00 

Col(ji.  color-and-varnish,  stripe,  and  finish 10i)0 

Varnish  light  business  wagon 6.00 


PRACTICAL  CARRIAGE  AXD  WAGON  PAINTING.  129 

Painting  light  express  or  business  wagon  without  top 10.00  to  12.00 

Painting  top  light  express  or  business  wagon 2.00 

Painting  heavy  express  or  business  wagon 12.00  to  15.00 

Painting  top  heavy  express  or  business    wagon ,S  00 

Lettering  on  veliicles,  per  foot,  plain  paint If)  to  .20 

Lettering,  per  foot,  shaded  20  to  ,25 

Lettering,  per  foot,  shaded  and  ornamented 35  to  .40 

Lettering,  per  foot,  plain  gold  45  to  .50 

Lettering,  per  foot,  shaded 60  to  .70 

iMtering,  ornamented  gold 80,  .90,  and  1.00 


CHAPTER  XIV. 

A  STUDY  OF  MATERIALS:  WHITE  LEAD.  ITS  PURITY,  ETC.— QUALITY  OF 
COLORS  IN  GENERAL— ADULTERATION  PRACTICALLY  CONSIDERED— 
PURITY  OF  RAW  LINSEED  OIL— TURPENTINE— TESTING  COACH  JAPAN 
—VARNISH. 

THE  name  of  a  thing  should  not  be  accepted  for  all  there  is  to  the 
thing  itself.  The  carriage  painter  has  very  pronounced  reasons  for 
bearing  this  fact  in  mind  when  engaged  in  studying  and  passing 
judgment  upon  the  materials  he  finds  it  needful  to  use  in  his  business.  Prob- 
ably the  most  important  pigment  which  finds  its  way  into  the  carriage  and 
wagon  paint  shop  is  white  lead.  This  pigment  has  afforded  a  them6  for 
increasing  discussion,  its  qualities  and  adaptability  having  been  extensively 
canvassed.  Numerous  substitutes  have  been  introduced  during  the  past  two 
decades,  but  white  lead  still  retains  its  pre-eminent  popularity.  Lead  com- 
pounds and  various  adulterated  brands  have  given  the  painter  plenty  of 
trouble,  and  caused  him  to  devote  more  attention  to  the  quality  of  his  white 
lead  stock  than  formerly.  Because  of  its  soft,  pliable,  grain-filling  property, 
its  established  elasticity,  density,  body,  fine  working  quality,  and  its  merits 
as  a  reliable  dr^'ing  pigment,  white  lead  is  the  filling  up  and  foundation 
material  par  excellence. 

The  purity  of  lead  deserves  the  carriage  painter's  first  consideration.  It 
has  been  practically  determined  that  a  pure  lead,  endowed  with  all  the  vir- 
tues which  should  distinguish  pure  lead,  when  mixed  and  used  in  combina- 
tion with  other  pigments  or  colors,  holds  its  quality  better  and  is  less  sus- 
ceptible of  change  than  a  compound  or  adulterated  lead.  Moreover,  pure 
white  lead,  with  its  soft,  fine,  elastic  texture,  has  a  natural  adhesiveness,  a 
surface-filling  and  leveling-up  property,  which  the  impure  lead  carrying  a 
percentage  of  gritty,  flinty  ingredients  does  not  possess.  The  pure  lead 
works  out  under  the  brush  more  pleasantly  and  with  less  bru.shing  than  the 
compound,  and  it  dries  with  greater  uniformity,  etc. 

At  the  same  titne  it  is  well  to  remember  that  a  strictly  pure  lead  may 
have  a  number  of  features  in  its  make-up  decidedly  objectionable  to  the  car- 
riage painter.  It  may  be  imperfectly  washed,  or  it  may  be  too  coarsely 
ground,  etc.  In  his  study  of  white  lead,  then,  the  painter  will  find  it  a 
matter  of  value  to  determine  the  adaptability  of  the  lead  to  the  requirements 
of  his  business.  After  convincing  himself  of  the  purity  of  the  lead,  it  re- 
mains for  him  to  test  for  fineness  of  grinding.     A  lead  ground    fine — impal- 


PRACTICAL  CAIlRlAdE  AND  WACON  PAISTiyd.  131 

pably  fine,  if  it  please  my  readers —  lightens  the  labor  of  sandpapering, 
strikes  into  the  wood  fibres  stoutly,  and  covers  the  maximum  surface  space. 
It  has  good  coloring  and  covering  power  when  mixed  with  colors  to  form 
tints,  and  for  other  important  parts  which  a  white  lead  plays  in  vehicle 
painting  it  is  especially  adapted. 

Nor  should  a  carriage  lead  be  ground  in  too  large  a  percentage  of  oil. 
For  coats  between  priming  and  color  but  comparatively  little  oil  is  needed, 
and  washing  out  with  benzine  or  turpentine  entails  an  unnecessary  amount 
of  labor.  Hence,  it  should  be  insisted  upon  that  carriage  painters'  lead  be 
ground  moderately  stifiFin  oil,  so  that  protracted  washing-out  may  be  avoided 
on  the  one  hand,  and  extended  mixing  and  breaking-up  operations  shunned 
on  the  other.  A  practical  and,  at  the  same  time,  a  conclusive  test  of  fine- 
ness is  furnished  by  taking  two  pieces  of  plate  glass  8x8  inches  in  size,  set- 
ting them  securely  in  blocks  of  wood,  and  then  smearing  a  couple  of  small 
flakes  of  the  lead,  rubbing  the  pieces  of  glass  together.  Continue  rubbing 
with  a  firm,  even  pressure  until  a  uniform  distribution  of  the  pigment  and  a 
thorough  impact  is  established.  The  glasses  should  then  disclose  the  nature 
of  the  grinding.  To  learn  the  drying  powder  of  the  lead,  take  the  palette  knife 
and  slick  a  small  quantity  over  the  glass  and  set  aside,  noting  the  time  con- 
sumed in  drying.  A  lead  ground  in  the  proper  proportion  of  oil  for  carriage 
work  should,  as  taken  from  the  keg  and  smeared  in  a  thin  film  over  the 
glass,  dry  in  twelve  hours  so  that  the  finger  may  be  passed  over  it  without 
sticking. 

What  has  here  been  said  in  reference  to  chemical  purity  or  strictly  pure 
as  a  necessity  in  the  white  lead  product  does  not  apply  to  all  the  pigments  so 
useful  to  the  vehicle  painter.  For  reasons  here  shown  lead  extenders  and 
lead  compounds  should  be  emphatically  objected  to.  A  disavowal  of  their 
worth  as  carriage  painting  pigments,  however,  in  no  wise  lessens  the  signifi- 
cance of  the  fact,  as  already  pointed  out,  that  a  strictly  pure  lead  is  very 
often  an  expensive,  if,  indeed,  it  be  not  a  worthless,  lead  to  buy.  Chemically 
pure  is  not  invariably  an  accurate  gauge  of  quality.  A  chemicall}-  pure  lead 
that  has  not  fineness  to  recommend  it  lacks  an  essentially  vital  quality.  In 
respect  to  the  pigments  and  colors  following  in  the  wake  of  white  lead  it  has 
been  made  plain  on  many  a  hard-fought  field  of  experiment  that  the  color 
consumer,  the  practical  painter^  the  workman  far  removed  from  the  analytic 
gentleman  of  the  laboratories,  is  chiefly  concerned  in  getting  a  pigment  or 
color  adapted  to  his  needs  more  completely  than  any  other  available  one.  It 
may  not  be  chemically  pure  as  the  chemists  would  construe  the  term ;  but  if 
it  responds  satisfactorily  to  a  practical  test,  it  is  then  serving  the  painter's 
practical  need.  As  declared  by  the  writer,  in  an  article  published  some 
time  ago,  '  'a  color  or  pigment  may  be  pure  in  the  sense  that  it  is  not  adul- 
terated, and  still  fall  short  of  being  chemically  pure.  It  is  the  duty  of  the 
consumer  to  avoid  buying,  under  the  label  'strictly  pure,'  an  adulterated 
color.     The  real  color  contained  in   such  a  product  is  then  costing  him  con- 


132  PJRACTICAL  CARRIAGE  AXD  WAGOX  PAIXTIXG. 

siderably  more  than  would  a  color  in  a  slate  of  purity."  The  chemist  and 
the  practical  painter  do  not  agree  oftentimes  upon  what  may  be  called  adul- 
terants. Once  upon  a  time,  as  the  fairy  books  say  at  a  painters'  conven- 
tion the  chemist  employed  to  make  an  analysis  of  chrome  yellow  stated  in 
substance  thnt  practically  everything  outride  of  the  chromate  of  lead  shoul(* 
be  classed  as  an  adulterant  or  as  a  matter  out  of  place.  The  pracical  painter 
who  has  looked  up  the  subject  of  chrome  yellow  manufacture  could  tell  the 
chemist  in  this  case  that  he  has  signally  f-^iled  to  take  iiito  consideration  the 
necessary  constituen'-s  of  the  different  shades  of  chrome  yellow.  As,  for  ex- 
ample, acetate  and  nitrate  of  lead,  bichromate  of  potash  and  bichromate  of 
soda,  sulphate  of  soda,  etc,  are  constituents  of  a  pure  chromate  of  lead.  And 
our  friend,  the  chemist,  would  tell  us  that  a  chromate  of  lead  composed  of 
some  of  the  above  ingredients  is  not  a  chemically  pure  article.  What  the 
carriage  painter,  the  consumer,  will  find  it  of  value  to  ask  himself  is  this: 
Does  a  given  pigment  or  color  suit  the  requirements  of  my  business?  -If  in 
doubt  as  to  the  utility  of  the  given  pigment  or  color,  then  an  immediate 
practical  test  should  be  resorted  to.  It  is  not  the  purpose  of  the  writer  to  be- 
little the  position  or  the  usefulness  of  the  chemist.  The  value  of  a  chemical 
analysis  in  the  detection  of  adulteration  and  in  explaining  how  a  color  is 
made  is  cheerfully  acknowledged;  but  after  the  chemist's  deduction  must 
follow  the  practical  test.  In  conducting  a  practical  test  the  foremost  aim  of 
the  painter  should  be  to  consider  the  color  or  pigment  to  be  tested  in  relation 
to  the  object  for  which  it  i.s  intended.  Shade,  brilliancy,  working  property, 
durability,  etc. ,  are  entitled  to  a  careful  and  chief  consideration  in  a  test  for 
quality.  And  a  test  for  quality,  if  conducted  painstakingly  and  thoroughly, 
will  disclose  the  real  value  of  the  material  to  the  consumer.  When  extenders 
are  added  to  a  pigment  for  the  sole  purpose  of  enriching  the  manufacturer 
at  the  expense  of  the  consumer,  the  practice  becomes  adulteration,  pure  and' 
simple.  If,  howevei',  such  extenders  are  used  to,  and  actually  do,  increase 
a  pigment's  usefulness,  fortifying  it  in  a  way  and  to  an  extent  that  it  needs 
to  be  fortified,  the  painter  will  not  attempt  to  question  its  commercial  value. 
The  study  of  the  pigments  which  the  vehicle  painter  calls  to  his  uses  is 
a  feature  of  business  deserving  the  most  rigid  attention.  Carried  on  watch- 
fully and  with  a  vigilant  regard   for  details,  it  cannot  well  fail  to   increase 

paint  shop  profits. 

LIQUID  MATERIALS. 

In  the  consumption  of  liquid  materials  the  vehicle  painter  has  no  use 
for  extenders.  Unfortunately,  however,  the  thrifty  and  shifty  sons  of  adul- 
teration, after  the  manner  of  Marco  Bozzaris,  in  the  Fourth  Reader,  ire 
struggling,  tooth  and  nail,  to  adulterate  linseed  oil  and  the  turpentine  product 
in  a  way  to  defy  detection. 

What  the  cathode  ray  is  to  a  certain  branch  of  science,  pure  raw  linseed 
oil  is  to  carriage  and  wagon  painting.  Back  in  a  .somewhat  indefinite  period 
of  the  past,  linseed  oil  pre-empted  the  chii^f  claim  in  the  domain  of  paint  and 


PRACTICAL  CARRlAfiE  AAD  WA(;()\  J'AIXTING.  133 

varnish,  and  its  right  to  a  royal  office  in  that  douiain  has  never  yet  been  suc- 
cessfully disputed,  notwithstanding  the  fact  that  a  flood  of  substitutes  and 
counterfeits  have  been  turned  loose  upon  the  market.  In  the  language  of 
another,  "Raw  linseed  oil  is  the  king  of  the  paint  realm.  There  c.re  lots  of 
usurpers  in  the  field  but  they  are  short  lived.  The  true  homage  of  the 
brotherhood  of  the  brush  continues  to  be  paid  to  the  old  stand-by.  It  is  the 
gold  of  the  paint  shop  currency." 

In  the  basic  stage  of  carriage  and  wagon  painting,  pure  raw  linseed  oil 
is  conceded  to  be  the  life  of  the  pigment.  Impure  or  adulterated  lin.seed  oil 
— the  spurious,  fraudulent  article,  if  you  please — has  more  to  do  with  the 
premature  decay  of  paint  and  varnish  than  one  at  first  thought  might  con- 
cede. During  the  process  of  painting  there  are  numerous  complications 
which,  by  the  harsh  reality  of  scientific  analysis,  could  be  directly  traced  to 
the  insidious  effect::  of  an  adulterated  brand  of  oil.  Investigations  conducted 
by  competent  experts  have  shown  that  the  self-assertiveness  of  adulterated 
oil  is  determined,  not  so  much  by  apparent  unfavorable  effects  upon  the 
under  coats,  but  rather  from  its  resistless  attack  upon  the  lustre  and  dur- 
ability of  the  finishing  varnish.  Some  of  the  oils  used  to  adulterate  linseed 
oil  arc  pronounced  by  such  authorities  as  Hurst  and  Terry  to  be  good  driers, 
although,  as  in  the  case  of  rosin  oil,  they  may  seemingly  dry  good  upon  the 
surface  only  to  soften  up  later  on.  And  provided  the.se  adulterant  oils  arc 
not  good  driers,  the  people  engaged  in  floating  them  along  the  avenues  of 
trade  have  simply  to  add  a  certain  proportion  of  drying  japan  to  O.  K.  them 
in  this  respect. 

The  vehicle  painter's  practice  of  using  raw  linseed  oil  insures  him  some- 
what against  oil  adulteration,  as  it  is  much  more  difficult  to  adulterate  the 
raw  linseed  product  than  the  boiled  and  have  the  fraud  go  undetected.  A 
raw  linseed  oil  when  fresh  and  new  is  of  a  bright  yellowish-green  color, 
and  as  it  grows  older  it  becomes  paler  in  color  and  perhaps  a  little  brighter. 
When  spread  on  a  surface  in  a  thin  film  and  expo.sed  to  a  pure  dry  air  it  will 
harden  quite  solidly  in  from  forty-five  to  fifty  hours.  It  ranks  as  reliable 
drying  oil,  promptly  solidifying  when  acted  upon  by  peroxide  of  hydrogen 
or  by  subnitrate  of  mercury.  A  non-drying  oil  refuses  to  show  a  change  of 
this  kind.  Combining  powerfully  with  oxygen,  it  offers,  when  dry,  a 
stronger  resinous  character  than  any  other  oil. 

Probably  the  chief  adulterants  of  linseed  oil  should  be  listed  as  rosin, 
mineral,  and  fish  oil;  cottonseed  oil  being  looked  upon  with  less  favor  than 
formerly,  while  hempseed  oil,  owing  to  its  pronounced  tendency  to  change 
color,  is  not  much  in  evidence  at  present. 

Rosin  oil  is  strictly  an  unreliable  drier.  It  toughens  the  working  prop- 
erty of  paint  and  is  deficient  in  all  the  essentials  which  should  distinguish  a 
good  paint  oil.  Its  low  flash  point,  as  indicated  by  Hurst, —  300°  to  330° 
F. — together  with  its  strong  rosin  odor  when  heated,  would  appear  to  make 
it  an  easily-detected  adulterant.      Deodorizing  processes  have  of  late  served 


134  PRACTICAL  CARRIAGE  AND  WAGON  PAINTING. 

to  fortify  this  oil.  and  fish  oil  as  well,  against  detection  by  the  sense  of  smell. 
Fish  oil,  chiefly  the  product  of  the  menhaden  fishing  industry  flourishing  so 
vigorously  along  the  Atlantic  coast,  has  naturally  an  offensively  fishy  odor, 
particularly  when  heated.  Its  main  recommendations  as  a  linseed  oil  adul- 
terant are  tersely  summed  up  by  Terry  as  follows:  The  rapidity  with  which 
it  oxidizes,  and  its  good  body,  render  it  not  unsuitable  as  a  vehicle  for  paint. 

The  low  cost  of  mineral  oils,  including  coal  oil  and  petroleum,  has  caused 
them  to  become  highly  regarded  as  linseed  oil  adulterating  mediums.  Min- 
eral oils  more  unfavorably  affect  the  drying  property  of  paint  than  its  work- 
ing and  spreading  propert3\ 

Cottonseed  oil  belongs  to  the  non-drying  class  of  oils,  but  since  recent 
processes  have  made  possible  the  elimination  of  the  pronounced  acrid  taste, 
its  presence  in  linseed  oil  by  the  sense  of  taste  is  not  easy  to  expose. 

Hempseed  oil  is  a  mean  tasting,  mean  smelling,  but  good  drying  oil, 
and  only  because  of  its  rapid  color  changes,  wearing  finally  to  a  dull  brown, 
is  its  employment  in  linseed  oil  restricted  to  narrow  limits. 

In  testing  for  linseed  oil  adulteration,  ammonia  is  often  effectively  used, 
equal  parts  of  the  ammonia  and  oil  being  employed.  Cottonseed  oil  under 
the  ammonia  treatment  shows  an  opaque  brown.  When  it  is  present  in  lin- 
seed oil  the  liquid  goes  to  an  opaque  yellow.  Fish  oil  under  the  effects  of 
ammonia  goes  white.  Rosin  oil  will  disclose  its  presence  in  linseed  oil  if 
confined  in  a  bottle,  with  alcohol  added  in  the  proportion  of  five  parts  of  al- 
cohol to  one  part  of  oil,  and  smartly  shaken,  the  alcohol  afterwards  being 
poured  off.  A  clear  sugar-of-lead  solution  is  added  to  the  oil,  and  should 
rosin  oil  be  an  ingredient  a  cloudy  precipitate  will  manifest  itself.  A  prac- 
tical and  simple  test  often  used  in  the  carriage  paint  shop  consists  in  taking 
a  couple  of  test  tubes  and"  putting  a  quantity  of  linseed  oil  of  known  purity 
in  one  tube  and  a  quantity  of  suspected  oil  in  the  other,  then  immersing  the 
tubes  in  warm  water  for,  say,  ^  of  an  hour,  and  immediately  upon  removal 
from  the  water  pouring  the  pure  oil  into  the  tube  of  suspected  oil.  If  any 
impurity  exists,  different  colors  will  form  in  layers.  And  it  may  be  here 
proper  to  say,  in  passing,  that  in  making  tests  and  comparisons  of  materials, 
an  article  of  established  purity  and  quality  should  be  used  as  a  standard. 
Some  time  ago  a  well-known  paint  firm  issued  a  card  giving  some  easy  and 
practical  tests  for  the  detection  of  linseed  oil  adulterants,  and  knowing  their 
value  to  the  vehicle  painter,  the  writer  herewith  appends  three  tests: 

No  1. — Shake  equal  parts  of  oil  and  strong  nitric  acid  in  a  small  white 
glass  vial  or  bottle,  and  allow  to  stand  from  fifteen  minutes  to  two  hours. 

UPPER  LOWER 

STRATUM  STRATUM 

Pure  I  Muddy  Almost 

Linseed  oil  j  olive  green  colorless 

Presence  of  \        Decided  deep  Deep  red  or 

I-'ish  oil         f  red  brown  cherry  color 


PRACTICAL  CARRIAGE  AND  WAGON  PAINTING.  1.3;-) 

No.  2.— Shake  with  concentrated  solution  of  potash  or  soda,  and  then 
add  warm  water  and  shake  again.  Allow  to  stand  half  an  hour,  and  if  any 
petroleum  (paraffine  oil)  is  present  it  will  separate  from  the  soap. 

I^Jo.  3. — Put  samples  of  oil  in  tubes  and  place  them  in  a  freezing  mix- 
ture (2  parts  ice  or  snow,  1  part  salt).  If  the  oils  solidify  at  0°  or  10°  to  13° 
F.,  then  cottonseed  oil  is  probably  present.  (Pure  linseed  oil  solidifies  at 
17°  F.) 

The  hydrometer  should  be  among  the  possessions  of  every  well-regu- 
lated paint  shop.  It  is  an  inexpensive  little  instrument,  and  for  testing  tur- 
pentine it  is  unsurpassed,  while  for  the  detection  of  cottonseed  and  mineral 
oil  in  linseed  oil  it  is  a  quick  and  active  agent.  First  test  a  brand  of  linseed 
oil  of  absolute  purity;  and  such  an  oil,  bear  in  mind,  should  not  vary  ]^ 
degree  from  20°  to  60°  Fahr.  In  the  case  of  k  20%  addition  of  mineral  oil  to 
linseed  oil  (the  same  temperature  being  maintained  in  testing  both  the  pure 
and  the  suspected  samples)  the  specific  gravity  will  be  1)^°  less  than  the 
pure  oil.  A  25%  addition  of  cottonseed  oil  will  be  1°  lower.  Fish  oil  being 
of  about,  if  not  quite,  the  same  specific  gravity  as  pure  linseed  oil,  the  adul- 
terator can  beat  the  hydrometer. 

Pure  raw  linseed  oil  is  so  essentially  a  part  of  durable  carriage  and 
wagon  painting  that  especial  attention  should  constantly  be  directed  to  the 
oil  supply. 

In  respect  to  his  purchases  of  turpentine  the  painter  should  be  likewise 
cautious  and  investigating.  The  adulteration  of  turpentine  with  headlight 
oil,  or  a  lower  grade  of  kerosene,  and  with  112  fire  test  oil  has  been,  and 
continues  to  be,  actively  carried  on.  This  112  fire  test  oil,  as  employed  in 
small  southern  distilleries  not  shadowed  by  inspectors,  shows  a  list  of  ingre- 
dients closely  corresponding  to,  heavy  paraffine  oil  ^ ;  kerosene,  ^3 ;  light 
oil,  Yi.  Thus  a  gravity  is  provided  which  registers  about  the  same  as  pure 
turpentine  and  is  therefore  very  difficult  to  detect.  The  naval  authorities 
practice — and  it  is  said,  successfully — the  old-time  test  of  dropping  the  sus- 
pected turps  on  a  piece  of  white  paper  alongside  of  a  pure  brand  of  turps  and 
watching  the  result.  The  turps  containing  the  112  fire  test  oil  will  leave, 
upon  evaporation,  a  faint  but  decided  ^r^a^  stain.  Pure  turpentine  not  too 
rapidly  distilled  will  leave  no  spot.  The  turpentine  containing  traces  of  the 
crude  gum  due  to  too  rapid  distillation  will  impart  a  sticky,  yellowish-white 
stain  to  the  paper  and  this  the  painter  should  not  confound  with  the  afore- 
mentioned _^r<?a5y  stain  of  the  adulterated  turps.  In  our  Eastern,  Middle, 
Western,  and  Northwestern  cities  the  practice  of  kero.sene  oil  injection  is  the 
favorite  method  of  cheating  the  consumer.  The  sense  of  smell  will  some- 
times detect  the  presence  of  kerosene;  the  white  paper  test  will  .sometimes 
expose  it;  and  again  both  tests  will  fail,  along  with  the  other  usual  ones. 
While  so  keen  an  authority  as  Mr.  Geo.  B.  Heckel,  of  Drugs,  Oils  and 
Pai?its,  has  acknowledged  that  the  adulterators  can  cheat  the  hydrometer  to 
a  certain  extent,  it  cannot  be  done  with  the  same  measure  of  profit  and  im- 


136  PRACTICAL  CARRIAGE  AXl)  WAGOX  PAINTING. 

puiiity  as  formerly.  Mr.  Heckel  ha.s  publicly  advised  consumers  to  insist 
on  31  "-^  turps,  prefacing  the  advice  witli  the  following  noteworthy  declara- 
tion: "If  I  were  a  painter  I  would  never  accept  a  gallon  of  turpentine  with- 
out sticking  a  hydrometer  into  it,  and  if  it  registered  above  31^°  or  below 
30; '2°  I  would  not  accept  it  from  the  United  States  Treasury." 

What  vehicle  painter  vested  with  the  authority  of  purchasing  the  tur- 
pentine supply  for  a  painting  business,  be  that  business  big  or  little,  can 
aflford  to  disregard  Mr.  Heckel's  admonition?  To  pay  turpentine  prices  for 
kerosene  oil  is  a  disastrous  drain  upon  the  resources  of  a  painting  business, 
in  addition  to  furnishing  the  materials  u.sed  an  element  of  insecurity,  a  germ 
of  decay,  sure  to  disturb  the  durability  and  comeliness  of  a  painted  surface. 
For  it  is,  or  should  be.  in  fact,  clearly  understood  that  the  kerosene  or  fire 
test  oil  adulterants  do  not  evaporate  like  turpentine  when  put  into  a  pigment 
and  spread  upon  a  surface.  They  strike  into  the  wood  or  pierce  the  nether 
coat  of  pigment,  causing,  later  on,  the  flaking  and  peeling  of  the  pigment; 
or  they  retard  the  drying  of  colors;  and  again,  they  lend  a  peculiar  rough- 
ness to  the  surface,  like  unto  that  imparted  by  benzine  when  used  in  a  fine 
coach  color. 

The  carriage  and  wagon  painter  has  substantial  reasons  for  being  inter- 
ested in  coach  japans,  for  upon  their  quality  and  judicious  employment  the 
durability  of  his  work  greatly  depends.  The  many  and  beautiful  colors  which 
he  uses  almost  daily  are  japan  ground,  and  the  pigments  and  colors  shop- 
mixed  are  invariably  fortified  with  the  ever-useful  coach  japan.  The  wide 
variety  of  names  applied  to  the  drying  materials  used  in  the  painting  busi- 
ness has  been  the  source  of  annoyance  and  confusion  to  the  practical  mind. 
In  reality,  however,  there  are  but  three  kinds — coach  japan,  specially  adapted 
for  colors  to  be  quickly  dried  and  containing  no  oil;  liquid  drier  (or  dryer) 
intended  for  the  drying  of  oil  and  oil  paint;  and  patent  driers  purchased  in 
paste  form,  effective  only  when  u.sed  in  conjunction  with  oil.  The  patent 
driers  are  so  little  used  at  present  that  they  scarcely  merit  a  notice. 

Coach  japan,  with  the  merits  of  which  the  carriage  painter  has  a  right 
to  be  concerned,  being  chiefly  used,  as  before  stated,  in  colors  containing  no 
oil  require,  for  purposes  of  protection  and  as  a  service-insuring  medium, 
blanketing  under  one  or  more  coats  of  varnish. 

It  is  not  to  be  understood  that  coach  japan  will  not  combine  with  and 
dry  oil  colors;  its  power  in  this  capacity,  however,  is  less  than  that  of  a 
liquid  drier,  while  its  gunmiy  nature  shows  a  tendency  to  cau.se  surface  dis- 
turbances of  the  cracking  and  blistering  order — most  emphatically  so  when 
strictly  exact  proportions  are  not  maintained.  Its  adaptability,  therefore,  is 
best  confined  to  colors  containing  no  oil. 

So  much  of  uncertainty,  so  much  that  is  injurious  and  fatal  to  the  dur- 
ability of  colors,  is  embraced  in  the  employment  of  japan  in  excessive 
(luantities  or  of  an  inferior  grade  that  the  painter  should  not  be  slow  in  de- 
termining, by  practical  tests,  both  strength  and  quality.     And  to  make  such 


PRACTICAL  CARRIAGE  AND  WACOX  PAINTING.  137 

tests  easy,  not  to  mention  other  convincing  reasons,  need  we  invoke  the  pur- 
chaser's attention  to  the  importance  of  buying  only  standard  makes? 

A  first-class  coach  japan,  as  a  rule,  will  show  a  color  moderately  light, 
and  when  mixed  with  oil  should  manifest  no  disposition  to  curdle.  Si.ch  a 
japan,  too,  should,  when  floated  in  a  thin  film  over  a  glass  or  other  strictly 
non-porous  surface,  dry  £rm  and  without  brittleness  in  four  hours  To  ob- 
serve how  the  japan  unites  and  assimilates  with  linseed  oil,  take  a  pane  of 
window  glass,  that  furnishing  a  surface  non-porous  and  decidedly  free  from 
suction,  and  attaching  a  sheet  of  white  paper  on  one  side  as  a  means  of  better 
showing  the  action  of  the  oil  and  japan,  drop  on  the  reverse  side  of  th':  c'-lass 
about  four  drops  of  raw  linseed  oil.  Then  affix,  say,  a  single  drop  of  japan 
in  close  proximity  to  the  oil,  immediately  inclining  the  glass  so  that  the 
japan  may  come  in  contact  with  the  oil.  If  the  drier  promptly  unites  and 
takes  kindly  to  a  close  relationship  with  the  oil  without  curdling  or  showing 
other  evidences  of  disagreement,  it  will  merit  the  approval  of  the  painter. 
Another  easily-conducted  test  consists  in  comparing  the  japan  of  unknown 
quality  with  one  of  acknowledged  merit,  by  taking  the  samples  and  con- 
fining them  in  bottles  containing  raw  linseed  oil,  shaking  the  contents  and 
then  standing  aside  for  at  least  twenty-four  hours.  The  proportions  of  oil 
and  japan  may  be  in  the  ratio  of  5  parts  of  oil  to  1  part  of  japan,  exactly  the 
same  proportions  being  adhered  to  in  al!  the  samples  tested.  At  the  expira- 
tion of  twenty-four  hours  one  can  see  which  sample  mixes  best  with  the  oil. 
The  samples  then  poured  in  a  thin  film  over  a  piece  of  glass  and  allowed  to 
stand  will  determine  the  drying  property  of  each.  It  will  also  be  useful  to 
learn  by  observation  and  comparisons  if  the  japan  holds  well  in  solution.  A 
japan  that  fails  to  do  this  is  not  valuable  in  carriage  and  wagon  painting. 
Study  should  be  made  as  to  how  and  to  what  extent  the  japan  effects  the 
light  and  delicate  colors  at  present  so  extensively  used.  In  point  of  fact,  the 
painter  should  not  weary  in  investigating  the  qualities  and  characteristics  of 
his  coach  japans,  and  what  they  are  capable  of  doing.  To  establish  their 
real  value  will  mark  an  achievement  of  the  first  order  in  the  economy  of 
painting. 

In  regard  to  varnishes  the  buyer  can  find  no  excuse  for  putting  aside  the 
fact  that  quality  and  not  price  should  determine  the  value  of  his  supply;  and, 
happily,  he  has  it  within  his  power  in  the  active  prosecution  of  his  business 
to  demonstrate  the  good  or  bad  quality  of  varnish.  It  may  frequently  prove 
an  expensive  experiment;  and  herein  is  disclosed  an  apparently  good  and  suf- 
ficient reason  for  the  painter's  disinclination  to  change  from  the  use  of  one 
make  of  varnish  to  another.  The  varnishing  stage  of  painting  may  be  said 
to  be  in  a  critical  period  at  all  times,  and  having  established  the  quality  of 
his  varnish  supply,  the  responsible  party  in  the  matter  is  naturally  opposed 
to  changing  in  favor  of  a  make  with  which  he  is  not  practically  acquainted. 
At  the  same  time,  a  practical  test  of  different  strictly  reliable  makes  is  the 
only  way  of   deciding  to  one's  own   satisfaction  which  is  the  best,    and  the 


138  .      PRACTICAL  CARRIAGE  AND  WAGON  PAiyriXa. 

most  economical  to  buy.  Any  first-class  finisher  can  very  soon  determine 
the  working  property,  brilliancy,  depth  of  lustre,  drying  quality  and  gen- 
eral behavior  under  varying  circumstances  and  conditions  of  different  var- 
nishes. Nevertheless,  that  primary  requisite,  durability,  is  not  so  easily  nor 
so  promptly  established.  This  essential  quality  can  be  determined  only 
after  protracted  trials  upon  vehicles  engaged  in  active  service,  the  painter 
retaining  carefully  tabulated  data  bearing  upon  each  make  of  varnish  under 
observation,  the  character  of  the  service  to  which  it  is  exposed,  etc.  Thus, 
in  due  season,  may  the  actual  merits  of  a  varnish  be  defined. 


CHAPTER  XV. 

CUTTER  AND  SLEIGH  PAINTING:  DECORATIVE  ASPECTS  OF  THE  WORK— 
THE  VARIOUS  PROCESSES  OF  PAINTING  EMPLOYED  THE  PREVAIL- 
ING COLORS— STRIPING  AND  SCROLLING— REPAINTING,  REVARNISH- 
ING,  PROFITS  TO  BE  REALIZED,    ETC. 

CUTTER  and  sleigh  painting  are  justly  esteemed  interesting  parts  of 
the  art  of  vehicle  painting.  Coming  at  a  time  when  the  ordinary 
activities  of  vehicle  painting  are  practically  at  a  standstill,  the  cutter 
and  sleigh  painting  business  furnishes  a  medium  for  profits  gleefully  taken 
advantage  of  by  the  average  factory  and  jobbing  shop  painter. 

In  one  way,  it  must  be  confessed,  this  branch  of  painting  has  fallen  off 
in  attractiveness.  The  elaborate  decorative  effects  once  so  largely  in  the  full 
favor  of  fashion  have  been  discarded,  and  many  workmen  competent  to  ac- 
complish such  effects  have  become  lost  in  other  pursuits.  But  in  these  days 
the  painter  should  be  prepared  for  any  emergency;  hence  it  is  best  that  cutter 
and  sleigh  decorative  work  be  given  study,  and  skill  to  execute  such  work 
be  kept  in  hand  or  acquired  by  practice.  Now  and  then  comes  a  call  for  a 
cutter  or  sleigh  ornamented  in  the  old-fashioned  way  with  elaborate  arm 
pieces,  etc.  The  jobbing  shop  painter  especially  is  very  frequently  confronted 
with  opportunities  for  the  practice  of  decorative  painting  in  a  variety  of 
ways,  and  to  fulfill  his  mission  as  an  important  community  artisan  he  should 
be  prepared  to  do  the  work.  The  very  low  prices  paid  for  cutter  and  sleigh 
painting  at  the  present  time  have  proved  an  effective  factor,  no  doubt,  in 
considerably  restricting  the  limitations  of  decorative  painting.  At  the  same 
time,  there  is  every  reason  to  believe  that  the  conspicuous  absence  of  fine 
decorative  effects  in  cutter  and  sleigh  painting  is  also  due,  to  a  large  extent, 
to  the  inability  of  the  average  latter-day  workman,  located  in  provincial 
centres,  to  fittingly  produce  them.  Upon  the  modern  Portland  style  cutter 
elaborate  ornamentation  would  perhaps  be  out  of  place;  but  upon  many  of 
the  runner  vehicles  of  ancient  and  honorable  vintage,  which  the  beauteous 
Belle  of  Fashion  has  decreed  to  be  the  proper  thing,  a  generous  measure  of 
decorative  work  would  be  appropriate.  Swell  sleighs  of  more  recent  pattern 
take  kindly  to  lavish  ornamentation  built  upon  rather  delicate  lines. 

These  conditions,  therefore,  warrant  the  painter  who  deeply  desires  to 
command  profits  and  success  in  cutter  and  sleigh  painting,  in  cultivating  a 
ready  .skill  and  dexterity  along  the  lines  of  ornamental  work. 

Surface  perfections  have  grown  to   be  important  considerations  in    the 


140 


rUACTlCAL   CAliRIAdE  AND  WAGOX  rAINTINO. 


economy  of  sleigh  painting  of 
the  best  grade.  While  none 
but  the  very  finest  class  of 
cutters  and  sleighs  are  given 
surfaces  rivalling  in  smooth- 
ness and  quality  those  reflect- 
ed by  the  best  class  of  car- 
riages, still,  first-class  surfac- 
ing remains  a  chief  feature  of 
sleigh  painting,  excepting  at 
all  times  the  seven-for-$100 
vehicles.  And  in  respect  to 
this  latter  cla.ss  of  jobs,  the 
results  achieved  in  the  way  of 
surface  effects  are  often  sur- 
prising, due  chiefly  to  the  very 
heavy  coats  of  varnish  applied. 
F'iG.  1.  And   here  the    reader   may 

deem  it  pertinent  to  ask  for  a  review  of  the  systems  and  methods  practiced 
in  painting  and  finishing  cutters  and  sleighs. 

In  the  painting  of  runner  vehicles  of  the  best  order  the  jobs  are  primed 
throughout,  bodies  and  running  parts  (and  this  includes  inside  of  bodies, 
under  surface— everything,  in  fact,  not  covered  with  iron),  with  oil  and  lead 
primer.  Permitting  this  coat  to  dry  thoroughly,  a  light  sanding  with,  say 
No.  ^4  sandpaper,  is  given,  and  then  a  coat  of  lead  containing  enough  raw 
linseed  oil  to  bind  the  pigment  securely  without  giving  it  a  gloss  is  put  on. 
Use  an  oval  or  round  bristle  brush  to  apply  the  lead  to  the  body,  and  for  the 
running  parts  use  a  camel's-hair  brush,  this  latter  tool  being  best  adapted  to 
lay  a  uniform  depth  of  pigment  over  the  sharp  edges  and  small  surfaces  of 
the  running  parts.  Upon  this  coat 
putty  both  body  and  running  parts 
draw-puttying  all  open -grained  por- 
tions of  the  surface.  Forty -eight 
hours  after  puttying  begin  rough-stuff- 
ing the  body,  using  for  the  'stuff  equal 
parts  of  any  good  American  filler  and 
keg  lead,  by  weight,  reducing  to  a 
thick  paste  in  equal  parts  of  quick 
ruVibing  varnish  and  japan,  then  cut- 
ting to  a  brushing  consistency  with 
turpentine.  This  is  a  two-coat-per-day 
'stuff.     Apply  four  coats  of  the 'stuff, 

then  a  guide  coat  of  yellow  ochre  and    ,^^,mmamm^^^mtmim 
set  aside  for  a  few  days.     After  rub-  |,^n;  2 


PRACTICAL  CARRIAaE  AM)  WAdON  PAINTING. 


141 


^              ■— -"       ;r 

!i 

1 

i 

i 

i 

> 

bing  the  surface  out  (full  instructions  for 
rubbing  roughstuff  may  be  found  in  Chap- 
ter III.  of  this  series)  give  it  plenty  of 
time — twelve  or  fourteen  hours  at  least — 
to  dry  out.  Then  lightly  sandpaper  with 
No.  0  paper,  dust  off,  and  give  first  coat  of 
color. 

The  proper  color  foundation  being  se- 
cured, apply  two  coats  of  rubbing  varnish, 
either  both  clear  or  one  clear  and  one  color- 
and- varnish,  the  character  of  the  color 
foundation  determining  the  selection,  and 
then  follow  with  a  heavily  flowed  on  coat  Fig.  3. 

of  finishing  varnish.  In  case  color-and-varnish  be  used,  the  striping  and 
ornamental  work  had  best  be  done  on  this  coat,  as  upon  work  of  this 
quality  the  ornamentation  will  require  the  protection  of  a  rubbing,  as  well 
as  a  finishing,  coat  of  varnish. 

The  running  parts  require  sandpapering,  then  one  coat  of  color-and-var- 
nish, then  striping  and  finishing.  This  system,  intended  exclusively  for 
high  class  work,  requires  a  very  thorough  carrying  out,  with  no  neglected 
details  from  priming  coat  to  finishing,  if  a  satisfactory  degree  of  excellence, 
both  in  finish  and  durability,  would  be  maintained. 

Another  system,  in  which  roughstuff"  does  not  figure,  consists  of  giving 
body  and  gear,  when  received  from  the  wood  shop,  a  coat  of  lead,  ochre,  and 
oil  priming.  When  the  irons  are  attached,  the  job  is  sandpapered  and  a 
coat  of  lead  containing  a  durable  binder  of  oil  is  given.  The  wood  and  iron 
are  alike  coated  with  this  mixture.  The  panels  of  the  body  are  next,  in  due 
season,  plastered  with  putty  (see  Knifing  Head  Formula  No.  1,  in  Chapter 
III.), the  pigment  being  firmly  forced  into  the  grain  of  the  wood.  Aim  to  get 
a  very  smooth  application  of  the  pigment  in  addition  to  a  complete  fullness  of 
the  wood  pores,  to  the  end  that  the  surface  cells  may  be  sealed  '  'against  grain- 
ing out"  and  that  the  labor  of  sandpapering  may  be  reduced  to  the  minimum. 

The  first  coat  of  color  is  furnished  with  a  binder  of  oil  and  should  not  be 
recoated  until  the  day  following.     Add  varnish  as  a   binder  for  the   second 


Fig.  4. 


142  PRACTICAL  CARRIAGE  AND  WAGON  PAINTING. 

coat  of  color.  A  single  coat  of  rubbing,  and  one  of  some  hard  drying  finish- 
ing varnish  often  suffices  to  complete  the  finish.  If  a  better  job  is  desired  an 
extra  coat  of  rubbing  is  given.  The  striping,  corner  pieces,  etc.,  are  done  on 
the  flat  color.  The  running  parts  are  puttied  on  the  priming  coat,  exposed 
parts  of  open  grained  surface  draw-puttied,  sandpapered,  given  one  coat  of 
color,  coat  of  color-and- varnish,  striped,  and  finished  with  a  heavy  bodied, 
hard  drying  finishing  varnish.  Again,  for  medium  priced  sleigh  work  a 
factory  system  consists  of  applying  some  reliable  liquid  wood  filler  to  the  job 
throughout,  then  a  little  later  wiping  the  surface  over  with  soft,  clean  rags. 
The  work  is  allowed  twenty-four  hours  in  which  to  dry  out.  when  the  body 
is  given  a  coat  of  roughstuff  mixed  in  the  proportion  of  3  lbs.  of  filler  to  1  lb. 
of  keg  lead,  equal  parts  of  japan  and  rubbing  varnish  being  used  to  reduce 
It  to  a  heavy  paste,  and  turpentine  employed  to  cut  it  to  the  proper  working 
consistency.  Putty  on  this  coat  of  'stuff.  Then  apply,  at  the  rate  of  two 
coats  per  day,  a  roughstuff  made  according  to  the  first  formula  givei>  here- 
with. Three  coats  of  this  stuff  should  suffice.  Rub  out  with  rubbing  bricks, 
color  and  finish  out  as  previously  advised.  The  running  parts  are  puttied 
upon  the  filler  coat,  draw  puttied  wherever  needed,  then  colored,  given  color- 
and-varnish,  striped  and  finished. 

In  some  shops  the  roughstuff  is  discarded  altogether,  the  wood  filler  be- 
ing filled  over  with  a  couple  of  lead  coats,  the  first  coat  containing  an  oil 
binder  and  the  second  one  containing  no  oil  at  all.  This  lead  foundation  is 
surfaced  down  with  sandpaper,  dusted  oflf,  and  a  wash  of  quick  hard  drying 
rubbing  varnish,  thinned  down  about  one-half  with  turpentine,  given.  The 
surface  is  then  finished  out  in  the  u.sual  way.  The  running  parts  are  treated 
as  described  in  the  liquid  wood  filler  process  previously  given. 

The  anti-kalsomine  system  concerning  which  considerable  discussion 
was  had  .somewhat  recently  amounts  to  this:  The  jobs  are  primed  through- 
out with  oil,  yellow  ochre,  and  perhaps  a  little  lead.  The  bodies  are  then 
taken  in  hand  and  all  necessary  puttying  done.  The  anti-kalsomine,  the 
fixer  or  binder  of  which  is  cement,  is  next  mixed  to  a  working  consistency 

with    hot  water  and  applied    hot.     It  is  best  to 
j  allow  the  first  coat  of   kalsomine  to  stand   over 

night  before  being  recoated,  although  in  the  fac- 
tory system  three  or  four  coats  of  the  cement, 
always  applied  hot,  are  put  on  per  day.  Then  a 
liquid  mixture  of  oil,  japan,  and  turpentine,  in 
^.__^  the  proportion  of  two  parts  of  oil  to  three  parts  of 

L  lC^^>\\>^  japan,  and  one  part  of   turpentine,,  is  flowed  over 

VJVT^W  ^^^   kalsomine    foundation.       This    liquid  wash 

f^VV    fL/^v  serves  to  weld  or  amalgamate  the  cement  with 

C^^W^-T^'*^  ^^^^   priming  coat.       The  sandpapering  of  these 

" —  anti-kalsomine  foundations  is  one  of  the  principal 

Pig.  5.  draw-backs  to  the  use  of  the  cement.      It  sets  in 


PRACTICAL  CARRIAGE  AND  WAGON  PAINTING. 


143 


motion  flotillas  of  dust,  stifling  and  suffocating  to  an  extreme.  It  has  been 
noted,  however,  that  this  anti-kalsomine  treatment  has  furnished  some  fine 
wearing  and  very  durable  surfaces. 

The  carriage  painter  in  practicing  his  trade  as  it  applies  exclusively  to 
carriages  is  confined  to  a  comparatively  few  colors,  but  in  devoting  his 
skill  to  cutter  and  sleigh  work  an  extended  variety  of  colors  may  be  used. 
Artistic  instincts  are  in  good  demand  in  the  cutter  and  sleigh  painting  bus- 
iness. Possibilities  for  the  harmonious  combination  of  colors  exist  here  to 
an  extent  not  known  of  in  the  other  branches  of  painting.  Colors  sombre 
and  gay;  emblematic  of  this,  that,  or  the  other  thing;  old-fashioned  as  the 
days  of  witch  burning  or  as  modern  and  up-to-date  as  the  '97  color  grinder 
can  make  them,  are  all  alike  acceptable  in  the  sight  of  the  people  who  love  a 
sleigh  ride.  Some  painters  have  a  great  liking  for  siennas  and  umbers  as 
body  colors  for  sleigh  work.  Toned  down  some  they  do  gleam  very  showily 
under  varnish.  Such  colors  striped  with  aluminum  or  gold  and  edged  with 
a  fine  line  of  red  give  a  strikingly  handsome  effect,  especially  if  the  running 
parts  are   painted  in   some    one    of    the    beautiful    light    reds    at     present 


Fig.  6. 

available;  or  a  lighter  shade  of  the  body  color  can  be  advantageously  em- 
ployed upon  the  running  parts.  Perhaps  the  lighter  styles  of  cutters, 
speeding  cutters,  for  example,  take  more  kindly  to  the  light  and  showy  reds 
as  running-parts  colors  than  do  the  vehicles  of  heavier  build,  but  all  styles, 
nevertheless,  permit  of  brilliant  color  effects  in  the  treatment  of  running 
parts.  For  a  light  track  or  speeding  cutter,  color  the  side  and  back  panels 
medium  ultramarine  blue;  the  dash,  carmine;  running  parts,  a  very  light 
carmine.  Stripe  the  panels,  }(  inch  line  of  gold  with  a  fine  line  of  carmine. 
The  dash  and  running  parts  may  be  displayed  with  striping  of  black  and 
gold.  Portland  cutters  for  ordinary  service  show  handsomely  with  the  body 
panels  done  in  ultramarine  blue,  moldings  blacked,  with  the  running  parts 
done  in  the  lightest  shades  of  the  ultramarine  blue,  the  job  then  striped 
throughout  with  a  primrose  yellow  stripe.  Or  again,  these  cutters  are 
painted  deep  carmine  throughout  the  body,  with  light  carmine  run- 
ning parts.  The  striping  on  body  consists  of  }i  inch  line  of 
black,  and  ^  inch  inside  of  that  is  flashed  a  fine  gold  line.  A 
Portland  amber  color  for  the  body,  with  a  lighter  shade  of  the 
same    color    for   the    running-parts,     looks    fetching,    notably    so     when 


144  PRACTICAL  CARRIAGE  AND  WAGON  PAINTING. 

the  body  panels  are  striped  with  double  lines  of  carmine,  the  orna- 
mental corner  pieces  being  done  in  carmine  of  a  lighter  shade.  The  running 
parts  may  get  a  single  ji  inch  line  of  carmine.  Then  one  can  see  in  the 
cutter  and  sleigh  centres  Portlands  done  in  ashen-grey,  canary  and  lemon 
3'ellow,  etc. 

One  of  the  largest  cutter  and  sleigh  factories  in  this  country  has  this 
year  abandoned  the  double  fine  line  style  of  striping  so  greatly  in  evidence 
for  several  years  past,  using  instead,  as  a  rule,  a  ^-inch  carmine  stripe — ob- 
tained by  glazing  carmine  over  a  yellow  base — with  a  distance  fine  line  of 
gold  running  inside  of  it.  At  this  establishment  one  can  see  a  jaunty  Port- 
land painted  pure  white,  with  the  body  striped  a  ^-inch  blue  line  with  a 
distance  fine  line  of  red.  Here  also  are  to  be  seen  beautiful  amber  browns, 
charming  greens,  elegant  yellows  of  the  primrose,  orange,  canary  order  and 
extending  down  to  the  delicate  cream  colors.  But,  on  the  whole,  those  cutter 
and  sleigh  builders  and  painters  who  cater  to  the  worshipers  at  Fashion's 
shrine  show  a  determination  to  adhere  to  the  dark  rich  colors,  such  as 
browns,  greens,  and  blacks,  for  panel  work.  Cutters  with  running  parts 
painted  in  colors  different  from  those  used  upon  the  bodies  are  not  so  much 
in  evidence  as  formerly.  Where  the  dark  colors  promise  to  remain  in  high 
favor  with  a  large  class  of  the  very  exclusive  folk  for  some  years  to  come,  no 
strict  adherence  to  such,  colors  may  be  expected  on  the  part  of  the  general 
cutter-and-sleigh-using  public. 

STRIPING,  CORNER  PIECES,  SCROLLS,  ETC. 

In  the  striping  of  cutters  and  sleighs  the  real  basis  of  success  is  a  judi- 
cious selection  of  colors.  It  has  been  a  common  saying  in  factory  circles  that 
anything  in  the  way  of  colors,  hit  or  miss,  goes  in  sleigh  painting  when  the 
ornamenting  is  reached.  But  this  should  not  be  so-;  in  point  of  fact,  it  is  not 
so  in  those  establishments  doing  a  good  class  of  work.  A  riotous  jumble  of 
colors  thrown  into  a  fine  line  corner  piece  or  scroll  is  an  abominable  exhibi- 
tion of  bad  taste.  There  is  nothing,  we  dare  say,  that  so  completely  stamps 
the  cheap  cutter  or  sleigh  with  a  glaring  badge  of  cheapness  as  the  ornament 
constructed  from  an  inharmonious  selection  of  colors  and  dotted  to  beat  a 
Baxter  St.  vest  lining.  The  dotter  has  no  business  striping  or  ornamenting 
the  modern  cutter  or  sleigh.  The  ornamental  features  of  sleigh  work  need  to 
be  of  a  very  high  order  of  excellence.  Otherwise  it  fails  to  correspond  to  the 
quality  of  finish  which  now  obtains  in  all  first-class  establishments  where 
sleigh  work  is  carried  on.  In  this  connection  the  reader's  attention  is  directed 
to  examples  of  fine  line  ornaments  adapted  to  Portland  cutters  and  sleighs; 
also  to  examples  of  the  bold,  handsome  relief  .scrolls  once  .so  extensively 
used,  and  which  .show  so  beautifully  upon  cutters  and  sleighs  of  the  swell 
body  pattern. 

Ornaments  Nos.  1,  2,  and  3  are  quick  pencil  sketches  for  panel  corners. 
The  writer  contributed  the.se  pieces  to   The  Hub  some  time   ago  and   their 


PRACTICAL  CARRIAGE  AND  WAGON  PAINTING. 


145 


reproduction  must  be  credited  to  the  courtesy  of  that  journal.  No.  4  is  used 
upon  the  dashes  of  Portland  cutters,  speeding  sleighs,  etc.  Two  distinct 
corner  pieces  are  shown  in  this  design,  thus  illustrating  the  possibilities  of 
variation  in  respect  to  the  corner  designs  employed.  No.  5.  is  a  corner  piece 
designed  for  Old  Comfort  and  Empress  cutters.  This  piece  may  be  done  in 
three  or  four  shades  of  red,  or  it  may  be  placed  in  gold  and  high  lighted  in 
relief  style.  In  No.  6  is  to  be  seen  a  very  attractive  design  for  the  dash  or 
rear  panel  of  a  large  four  or  six  passenger  sleigh.     No.  7  is  expressly  in- 


FiG.  7. 

tended  for  swell  body  cutters  and  represents  an  ornament  familiar  to  many 
old-time  painters.  It  is  a  decidedly  effective  scroll  and  will  afford  the  student 
in  scroll  work  a  good  w^orking  plan  for  further  effort,  Nos.  S  and  9  explain 
the  style  of  the  good-old  fashioned  scrolls  which,  when  ably  executed,  may 
be  declared  the  poetry  of  ornament.  Vehicle  painting  lost  one  of  its  chief 
charms  when  the  relief  scroll  was  abandoned,  and  we  say  speed  the  day  when 
it  is  welcomed  back  to  its  old  time  uses  and  prestige.  Then  fortunate  indeed 
will  be  the  painter  who  is  able  to  do  relief  scrolling. 


Transfer  ornaments  of  the  small  patterns  are  still  used  and  they  really 
furnish  happy  little  surface  beautifiers  at  small  cost.  One  can  quickly  master 
the  work  of  successfully  applying  transfers  or  "Decalcomanie,"  asour  friends 
of  the  geenteel  speech  may  say.  Cut  the  transfer  down  close  to  its  true  out- 
lines, and  then  to  the  back  of  the  ornament  apply  a  size  of  finishing  varni.sh 
and  japan  gold  size.  When  this  has  reached  the  right  ''tack,"  it  is  placed 
in  position  on  the  surface.  It  is  then  given  a  few  minutes  to  fasten  itself  se- 
curely upon  the  surface,  after  which  it  is  washed  over  with  clean  water  until 


146  PRACTICAL  CARBIAGE  AND  WAGON  PAINTING. 

the  covering  over  the  face  of  the  transfer  is  sufficiently  moistened  to  free 
itself,  when  lo!  the  ornament  in  all  its  freshness  and  coloring  of  raiment  is 
revealed.  The  washing  of  the  transfer  is  something  of  a  delicate  operation 
as  it  is  a  perfectly  easy  matter  to  disfigure  the  ornament  or  flood  it  out  of 
position  by  careless  practices. 

REPAINTING  CUTTERS  AND  SLEIGHS,  REVARNISHING,  ETC. 

Cutters  and  sleighs  for  repainting,  revarnishing  and  brightening  up  gen- 
erally should  be  got  into  the  paint  shop  as  soon  as  possible  after  the  carriage 
work  declines  in  the  late  fall.  This  enables  the  painter  to  avoid  the  rush 
which  is  sure  to  be  upon  him  with  the  first"run  of  sleighing."  It  also  enables 
him  to  do  more  satisfactory  work  in  several  waj's.  The  work  taken  in  early 
has  a  measure  of  time  given  it  while  being  carried  through  the  several  pro- 
cesses not  accorded  that  received  late  in  the  season.  Varnish  coats  given 
proper  time  to  dr}^  not  only  surface  up  better  but  wear  and  retain  their  bril- 
liancy longer,  and  do  not  fire  crack  when  run  out  in  the  cold.  Upori  the 
average  class  of  cutters  and  sleighs  a  less  expensive  varnish,  as  compared  to 
that  used  upon  first-class  carriages,  will  serve  all  necessary  purposes.  Ex- 
pen.sive  finishing    varnishes  are  not  needed.     Cutters  and  sleighs  are  not 


Fig.  9. 
exposed  to  the  severe  and  destructive  forms  of  service  that  wheeled  vehicles 
are,  consequently  they  do  not  require  highly  elastic  finishing  varnishes  to 
furnish  the  needed  durabilitj'.  They  are  in  service  for  only  a  comparatively 
small  part  of  the  year,  and  mud  spotting  and  troubles  of  that  order  do  not 
intrude  themselves.  Save  in  the  case  of  the  highest-class  sleigh  work,  a  first- 
class  gear  finishing  varnish  will  furnish  satisfactory  results  for  finishing  cut- 
ter and  sleigh  bodies.  A  heavy  gear  varnish  will  answer  perfectly  for  the 
running  parts.  But  in  this  selection  of  varnishes  choice  should  always  fall 
upon  those  of  first-class  q-uality.  Whatever  the  grade,  get  the  best  in  quality 
of  that  grade.  First-class  paint  and  varnish  stock  is  more  handily  worked 
and  will  cover  more  surface  than  inferior  stock,  and  judged  from  any  point  of 
view  one  may  elect  it  is  the  most  economical  material  tqbuy. 

When  a  cuuter  or  sleigh  comes  in  for  a  thorough  repainting,  examine 
the  vehicle  closely  and  if  the  body  can  be  removed  without  too  large  an 
expenditure  of  labor,  removal  should  be  insisted  upon.  There  is  usually 
con.siderable  dirt  under  the  edges  of  a  cutter  body  that  cannot  be  cleaned  out 
except  the  body  be  taken  off.  And  a  little  of  this  dirt  caught  up  in  the  paint 
or  varnish  brush  worketh  evil  to    the  whole  job.     Moreover,    the    bru.shes 


PRACTICAL  CARRIAGE  AMJ  UAaON  I'AiyTING.  147 

brought  in  contact  with  such  accumulations  of  dirt  are  unfitted  to  product 
pleasing  results  in  the  immediate  future.  The  touch-up-and-varnish  sleigh 
job  is,  in  the  main,  a  troublesome  affair,  especially  the  running  parts.  The 
merry  and  pretty  colors  which  chiefly  obtain  on  sleigh  running  parts  painted 
in  fornier  years  are  not  so  easily  matched  as  the  colors  used  upon  the  bodies. 
In  point  of  fact,  it  doesn't  pay  to  devote  much  time  in  trying  for  a  match. 
Instead,  mix  a  color  to  about  the  shade  of  the  old  color  and  go  over  the  run- 
ning parts  entire.  Then  restripeand  finish,  and  in  the  great  majority  of  ca.ses 
money  will  be  saved  thereby.  In  rubbing  cutter  or  sleigh  work  furnished 
with  heavy  moldings  out  of  varnish,  use,  for  surfacing  such  moldings,  any 
varnish  brush  of  a  small  pattern  worn  to  a  stub.  Cutting  through  on  the 
edges  of  the  moldings  is  nicely  avoided  in  this  way.  For  the  large  panels  on 
sleigh  work  a  3-inch  finishing  brush  will  serve  as  the  best  tool.  It  carries  a 
greater  quantity  of  varnish  and  enables  the  finisher  to  coat  the  surface 
quicker  than  he  could  do  with  the  smaller  brush.  In  finishing  the  quick  and 
adroit  placing  of  the  varnish  is  an  item  of  chief  importance. 

During  the  sleigh  season  there  usually  drifts  into  the  jobbing  paint  shop 
a  lot  of  not  very  particular  work.  As  for  example,  heavy  work,  sleighs, 
bobs,  etc.  Upon  such  work  there  may  be  used  the  accumulated  odds  and 
ends  of  colors  of  various  shades,  hues,  and  tints,  left  over  from  doing  sleigh 
work  of  a  better  class  and  from  carriage  work.  Some  very  neat  combina- 
tions may  be  effected  by  the  judicious  employment  of  these  left-over  bits  of 
color,  and  it  helps  to  slick  up  and  put  into  profitable  use  certain  materials 
which  otherwise  might  eventually  find  their  way  into  that  quagmire  of  the 
paint  shop — the  slush  keg.  Briefly  stated,  cutter  and  sleigh  painting  opens 
the  way  for  the  employment  of  considerable  material  which  cannot  be  termed 
strictly  "available"  in  the  other  branches  of  painting;  it  comes  at  a  time 
when  the  painter  is  better  able  to  appreciate  a  lean  loaf  than  a  fat  icicle;  and 
if  conducted  according  to  business-like  and  workman-like  practices  it  will 
supply  a  handsome  source  of  profits. 


CHAPTER  XVI. 

LEAVES  FROM  THE  PAINT  SHOP  DIARY— PERTINENT  POINTS  ON  PRAC- 
TICAL MATTERS— BLENDING  OF  COLORS— SPONTANEOUS  COMBUS- 
TION—PAINTING IN  SILVER  BRONZE  — THE  FRENCH  PAINTERS'  VAR- 
NISH ROOM  — REMEDY  FOR  RUSTED  CARRIAGE  SPRINGS  —  PAINTING 
METALLIC  SURFACES— THINNING  VARNISH— ETC. 

AT  best  the  carriage  painter's  existence  is  somewhat  hazardous,  his 
every-day  scene  of  toil  being  well  laden  with  poisonous  fumes  and 
fetid  exhalations.  In  the  painting  of  a  hearse,  ambulance,  or  ''dead 
wagon"  the  precaution  of  disinfecting  the  vehicle  most  thoroughly  should 
be  taken.  Carbolic  acid,  carbonate  of  lime,  or,  if  one  prefers,  numerous 
ready  prepared  disinfectants  of  penetrating  composition  may  be  used  gener- 
ously. Prudence  dictates  the  policy  of  refusing  to  take  any  chances  when 
working  in  and  about  a  vehicle  possibly  afflicted  with  the  germs  of  some 
deadly  contagious  disease. 

It  is  not  always  an  easy  matter  to  clean  the  glasses  in  heavy  coach  work 
unless  special  methods  are  practiced.  Here  is  a  quick  way  of  cleaning  be- 
smeared glasses  of  the  kind  named.  Saturate  a  soft  sponge  with  wood  al- 
cohol and  wipe  over  both  sides  of  the  glass.  If  perchance  varnish  or  paint 
accumulations  are  in  evidence  the  alcohol  softens  them  and  a  quick  run- 
around  with  a  keen-edged  putty  knife  removes  them.  If  a  careless  or  incom- 
petent workman  has  badly  bedaubed  a  glass,  coat  the  daubs  with  oxalic  acid. 
Tiie  action  of  this  powerful  liquid  will  very  briefly  soften  up  the  accumula- 
tions so  that  the  putty  knife  will  nicely  slick  them  off.  Then  give  a  rub  over 
with  ah  alcohol-charged  sponge,  this  to  be  immediately  followed  by  a  smart 
polish  with  the  chamois  skin.  If  a  still  better  polish  is  desired,  takea  news- 
paper, roll  it  into  a  .shape  that  will  permit  rubl)ing  the  glass  without 
bringing  the  fingers  in  contact  with  the  surface,  and  then  dipping  the  paper 
into  dry  lampblack  proceed  to  burnish  both  sides  of  the  glass. 

The  blending  of  colors  has  lately  become  an  important  feature  of  the 
carriage  painter's  art.  This  was  at  one  time  considered  purely  a  matter  of 
business  belonging  to  the  artist,  but  it  is  not  now  so  regarded.  Artistic, and 
therefore  harmonious,  color  Ijlending  consists  in  preserving  the  individuality 
of  each  color  employed,  while  at  the  same  time  there  is  an  almost  unconscious 
merging  of  one  color  into  another.  No  distinctive  lines  are  allowed  to  dis- 
turb the  harmony  of  the  work.  The  carriage  color  blender,  like  his  brother 
artist  of  the  pallette  and  three-story  studio,  aims  to  obtain  a  thorough  incor- 


PRACTICAL  CARRIAGE  AX  I)  WAdON  PAINTING.  149 

poration  of  all  the  different  shades  of  color  employed  upon  a  certain  piece  of 
work  so  that  the  blending  from  lis^ht  lo  dark  may  be  made  vvilhout  resorting 
to  any  glaring  contrasts.  The  blending  is  accomplished  while  the  colors  are 
wet,  the  ground  being  laid  first  in  the  lighter  colors,  then  working  in  the 
darker  shades  until  the  darkest  desired  shade  is  reached.  Great  care  is  nec- 
essarily expended  upon  the  tools,  etc.  A  color-clogged  brush  need  not  be 
expected  to  do  good  blending  service.  No  arbitrary  rules  can  be  given  within 
which  to  confine  the  work  of  blending — it  is  too  closely  allied  to  art  for  that. 
Supremely  necessary  aids  to  success  in  this  field  of  work  consist  of  plenty  of 
practice  taken  in  connection  with  intelligent  study  of  outline,  harmony,  and 
contrasts. 

If  it  is  desirable  to  varnish  a  job  of  gilding  the  same  day  the  leaf  is  laid, 
and  it  is  feared  that  the  leaf  will  brush  mark,  it  is  a  good  plan  to  give  the 
gold  a  light  coat  of  thin  shellac,  going  over  the  work  very  quickly.  The 
shellac  will  protect  the  leaf  without  in  any  way  harming  it. 

One  hears  a  good  deal  concerning  spontaneous  combustion.  The  craft 
would  be  less  familiar  with  the  term  if  the  following  rule,  rigidly  enforced  in 
some  shops,  were  lived  up  to  in  letter  and  spirit:  Greasy  }-ags  vuist  be  burned 
up  immediately,  and  not ,  under  any  eonsideratio7i,  allowed  to  remain  in  the 
shop  one  moment  after  their  use  is  finished.  Any  violation  of  this  order  will  rc- 
sult  in  immediate  dismissal. 

The  following  method  of  filling  in  a  badly  cracked  carriage  surface  has 
successfully  been  practiced  by  a  friend  of  the  writer's.  The  surface  is  first 
cleaned  and  given  a  light  sandpapering  to  strike  off  dirt,  motes,  etc.  Then 
dust  off  and  apply  a  coat  of  gold-size  japan,  a  free,  generous  coat  of  the  japan 
being  used.  Once  dry,  the  coat  is  gone  over  with  a  roll  of  rubbing  felt  to 
kill  the  gloss.  The  gold-size  japan  reaches  into  the  minute  orifices  more  ef- 
fectively than  varnish,  filling  and  sealing  the  fissures,  and  in  addition  it  fur- 
nishes an  easily  and  quickly  prepared  surface  for  the  color  and  the  varnish 
coats  to  follow- 

You  wish  to  repair  a  split  panel.  At  each  extremity  of  the  split  bore  a 
%  inch  hole.  Put  one  hole  just  at  the  crack,  the  .second  one  fairly  clear  of 
it.  Next  plug  the  holes  up,  and  then  dre.ss  off  even  with  the  surface  of  the 
panel.  Now  cut  a  shallow  bevel  along  each  side  of  the  crack;  this  to  enable 
the  putty  to  resist  the  cracking  tendency  of  the  crevice.  Then  give 
the  dressed  off  parts  a  coat  of  lead  containing  a  good  binder  of  oil.  When  this 
has  dried  putty  the  hollow  level  and  fill  with  a  putty  made  of  ^  dry  white 
lead  and  %  keg  lead,  the  liquids  being  rubbing  varnish  and  japan,  equal 
parts.  Sandpaper  t,his  repair  in  due  time,  and  then  give  the  final  puttying, 
which  should  be  done  to  the  full  measure  of  the  best  possible  skill. 

An  effective  little  advertising  card  was  once  circulated  by  a  keen-minded 
California  carriage  painter,  and  on  the  back  of  the  card  were  appended  the 
following  wise  admonitions  to  the  carriage  user.  The  suggestions  are  quite 
as  pertinent  now  as  they  were  at  the  time  they  were  first  given  publicity.  To 


150  PRACTICAL  CARRIAGE  AXD  WAGQN  PAINTING. 

insure  durability  of  the  painting  you  must  care  for  the  work  as  follows,  viz: 

"Don't  expose  to  the  fumes  of  ammonia. 

Don't  let  mud  dry  on  it. 

Don't  scratch  the  varnish  in  wa.shing. 

Don't  expose  to  the  sun  or  rain  when  not  in  use. 

Don't  let  the  axle-grease  collect  on  the  hubs. 

Don't  blame  me  if  you  are  careless,  as  I  have  given  you  warning." 

A  man  is  well  dressed  only  when  every  part  of  his  apparel  meets  the 
approval  of  the  critic.  This  same  estimate  also  applies  to  carriage  painting — 
that  is  to  genteel  carriage  painting  Hence  why  .send  the  top  joints  on  a  car- 
riage top  out  roughly  and  incompletely  finished?  The  critical  eye  rests  very 
quickly  upon  such  conspicuous  parts  of  a  vehicle,  and  if  they  are  not  fittingly 
finished  the  seal  of  condemnation  is  set  upon  the  work  as  a  whole.  Here 
is  a  finish  for  top  joints  that  will  disarm  the  fault  finder:  First  coat  up  with 
stout  coat  of  lead  containing  sufficient  oil  to  bind  the  lead  securely.  Then 
mix  two  parts  dry  white  lead,  one  part  roughstuff  filler,  to  a  rather  stiff  paste 
in  equal  parts  of  japan  and  rubbing  varnish.  Rub  this  mixture  onto  the 
joints  with  a  piece  of  heavy  harness  leather.  When  dry,  give  the  pigment  a 
thorough  smoothing  up  with  sandpaper,  color,  color- and- varnish,  rub  with 
water  and  pumice  stone,  and  then  finish  with  a  hard  drying  finishing  var- 
nish. 

To  paint  a  carriage  gear  in  silver  bronze,  which  one  is  now  and  then 
asked  to  do,  bring  the  work  up  to  the  point  of  the  foundation  color  for  the 
bronze  very  carefully,  using  no  lampblack  in  the  priming  and  first  lead  coats 
to  throw  them  to  a  slate  color.  The  foundation  coat  should  be  pure  white, 
mixed  to  dry  without  gloss  and  applied  with  acamel's-hair  brush.  Over  this 
coat  flow  on  a  coat  of  rubbing  varni.sh,  and  when  the  right  "tack"  is  reached 
apply  the  bronze  with  a  soft,  clean  camel's-hair  brush.  The  wiping  off  and 
the  delicate  burnish  may  be  given  with  a  soft  piece  of  chamois  skin.  Stripe 
with  some  color  that  harmonizes  nicely  with  the  bronze,  and  use  no  varnish 
over  it.     Varnish  destroys  the  richness  of  the  bronze. 

Why  use  a  broad  pencil  in  glazing  double  line  stripes?  The  existing 
space  between  the  stripes,  when  the  glazing  is  done  with  a  broad  pencil,  re- 
flects a  clouded,  muddy  appearance.  Better  glaze  each  line  separately,  using 
a  sword  pencil  for  glazing  with,  and  thus  obtain  the  best  color  efi^ects  along 
with  a  fine,  dressy  outline  of  striping. 

If  a  carriage  top  from  which  the  enamel  has  nearly  or  quite  vanished  is 
desired  to  be  made  bright  again  the  following  recipe,  published  by  the  writer 
m  Painfi'fiQ- a?id  Dc(roraf/?2q' some  iime  since,  wiU  give  satisfaction:  Mix  2 
parts  of  liquid  glue  with  .'5  parts  of  dissolved  castile  soap,  adding  120  parts 
of  soft  water,  to  more  thoroughly  liquify  the  glue  and  soap.  Then  add  4 
parts  of  spirit  varnish,  after  which  stir  in  2  parts  of  wheat  starch,  previously 
mixed  in  water.  I'*ollow  with  just  enough  lampblack  to  give  the  mixture  a 
solidly  black  tinge.     A  trifle  toij  nuicli  of  the  lampblack  will  kill  the  gloss. 


PRACTICAL  CARRIAGE  AND  WAGON  PAINTING.  151 

The  dressing  is  now  ready  for  use.     It  should   be  kept  in  an  air-tight  vessel 
to  prevent  thickening. 

A  green  stripe  is  strikingly  enriched  by  glazing  with  verdigris,  but  this 
glaze  should  be  varnished  over  as  soon  as  dry,  or,  at  any  rate,  before  moist- 
ure settles  upon  the  work;    otherwise  the  verdigris  will  lose  its  quality. 

It's  a  very  simple  6peration  to  sweep  a  varnish  or  paint-room  floor,  but 
some  ways  are  better  than  others,  nevertheless.  Try  this  way  for  a  change 
and  thereby  establish  its  utility:  Take  a  pail  of  sawdust,  dampen  it  thor- 
oughly, and  then  throw  a  windrow  of  the  woody  bits  across  one  side  of  the 
room.  Sweep  across  to  the  other  side  of  the  apartment,  and  then  observe 
how  spick  and  clean  the  floor  will  be,  with  no  moisture  remaining  to  annoy 
the  painter  or  varnisher. 

The  blow-pipe  should  be  more  in  evidence  in  the  carriage  paint  shop. 
The  tinsmith  will  charge  but  a  small  fee  for  making  the  pipe,  which  may  be 
l}4  ft.  long  and  tapering  from  ^  inch  at  one  end  to  ^  inch  at  the  other. 
Dust  and  dirt  that  cannot  be  removed  with  a  duster  is  simply  given  a  cyclone 
breath  through  the  tube,  and,  presto!  the  parts  are  clean.  With  the  blow- 
pipe water  can  be  driven  out  of  evasive  corners  when  cleaning  up  a  job  pre- 
paratory to  varnishing. 

Despite  the  best  laid  plans  of  the  painter  carriage  linings  occasionally 
get  some  glaring  smears  of  pigment.  If  the  linings  so  defaced  be  of  light 
color,  dampen  with  naphtha  or  gasoline,  and  then  with  a  clean  woolen  cloth 
rub  the  goods  briskly.  This  same  treatment  may  be  given  to  dark  colored 
cloth  upon  which  the  paint  spots  have  dried.  If  the  spots  are  observed  while 
the  paint  is  still  wet,  rub  them  smartly  with  pieces  of  the  same  kind  of  cloth 
of  which  the  lining  is  composed.  The  cloth  to  cloth  treatment  is  a  most  ef- 
fective and  easy  treatment. 

The  business  wagon  painter  has  many  moldings  and  battens  to  black, 
and  he  greatly  needs  a  good,  pleasant  handling  pencil  with  which  to  do  the 
work.  A  pretty  working  pencil  for  doing  the  parts  here  named  is  made  in 
this  wise:  Take  some  hair  from  a  camel's-hair  pencil  and  mix  with  it  ^ 
black  sable  hair.  Prepare  a  handle  as  though  you  were  to  make  a  sword 
pencil,  splitting  it  at  the  base,  etc.  Then,  after  arranging  the  hair  to  the 
right  width  and  thickness,  insert  the  butt  end  of  the  bunch  in  the  .split. 
Wind  tightly  with  strong  linen  thread.  Use  on  the  flat  side  of  the  pencil 
instead  of  the  edge. 

An  imitation-of-ebony  job  comes  within  the  province  of  the  painter's 
ski!l  now  and  then.  First  of  all,  the  wood  should  be  close,  fine-grained  stuff. 
Wash  it  with  a  decoction  of  logwood  three  or  four  times,  allowing  the  liquid 
to  dry  well  between  applications.  Next  vi-ash  with  a  solution  of  acetate  of 
iron.     This  gives  a  deep,  intensely  black  color. 

For  the  filling  of  an  unusually  deep  surface  cavity  prepare  a  pigment 
after  this  formula:  One  part  keg  lead;  2  parts  whiting.  Mix  to  a  stiff  paste  in 
equal  parts  of  thick  varnish  bottoms   and  raw  linseed  oil.       Add  a  small 


152  -,  PRACTICAL  CARRIAGE  AND  WAGON  PAINTING. 

quantity  of  japan  to  insure  reliable  drying.  Then  to  this  mass  mix  in 
enough  dry  white  lead  to  cause  the  putty  to  work  nicely  from  the  hand. 
Apply  very  smooth  so  as  to  avoid  sandpapering. 

One  of  the  secrets  of  the  French  coach  painter's  success  as  a  fine  var- 
nisher  and  finisher  was  revealed  by  W.  H.  Knight's  repoit  on  the  Paris  Ex- 
position. Referring  to  th2  varnish  room,  Mr.  Knight  wrote:  The  door  is 
locked,  and  no  one  is  admitted  under  any  circumstances — not  even  the  pro- 
prietor. The  doors  and  windows  are  air-tight,  so  that  not  a  particle  of  du.st 
can  find  entrance.  And  yet  the  room  is  ventilated,  but  how?  By  means  of 
tubes  filled  with  a  mixture  of  horsehair  and  wool.  This  permits  the  air  to 
enter  freely,  but  deprives  it  of  all  dust,  consequently  the  finish  of  their  work 
is  perfect  and  exquisite. 

All  surfaces  painted  with  lake  colors  should  be  amply  protected  by  sub- 
stantial varnish  coats.  Neither  the  lake  coats  nor  the  foundations  over  which 
they  are  laid  should  be  allowed  to  dry  "dead."  Give  the  ground  coats  a  bit 
of  gloss  and  always  use  the  lakes  as  color- and- varnish  coats.  Also,  ahvays 
refrain  from  buying  a  cheap,  inferior  lake,  the  chief  constituents  of  which  are 
whiting  and  aniline  dye.  Water  dissolves  the  aniline:  hence  with  water  as  an 
aid  the  painter  can  determine  the  quality,  in  a  measure  at  least,  of  the  lake 
colors.  To  the  surface  painted  in  a  lake  color,  apply,  before  coating  with 
varnish,  a  generous  smear  of  water.  If  the  aniline  speedily  disappears,  leav- 
ing the  colorless  whiting  base,  the  purchaser  has  just  cause  to  question  the 
quality  of  the  material. 

A  varni.sh  sag  upon  a  surface  doesn't  always  admit  of  easy  removal.  It 
can  be  done,  however,  and  that  very  quickly  and  smoothly  in  a  majority  of 
cases.  Get  a  stocky  bunch  of  curled  hair,  wet  it  up  thoroughly,  give  it  a 
liberal  dip  in  pulverized  pumice  stone,  and  then  rub  the  afflicted  surface 
carefully.  Finish  with  a  uniform  polish  furnished  by  the  regular  varnish 
surfacing  equipment. 

Carriage  and  wagon  interiors,  running  parts,  etc.,  finished  in  the  nat- 
ural wood,  that  have  become  stained  in  spots  so  as  to  be  an  offense  to  the 
eye,  may  be  satisfactorily  renewed  by  smearing  the  stains  with  oxalic  acid. 
Apply  the  acid  with  a  brush,  permit  it  to  act  upon  the  stains  for  a  few  min- 
utes, then  with  a  small  sponge  wash  off  with  clean,  soft  water.  The  steel 
scraper,  handily  wielded,  will  then  remove  all  remaining  evidences  of  the 
stains.     All  metallic  surfaces  may  be  perfectly  cleaned  with  this  acid. 

The  question  of  carriage  springs  rusting  is  a  live  one  with  the  carriage 
painter.  The  spring  maker,  or  rather  the  first-cla.ss  manufacturer  of  springs, 
avers  that  the  spring  product  well  ground  and  finished  is  not  at  all  lial)le  to 
rust  or  prematurely  throw  off  its  protecting  coats  of  paint  and  varnish.  The 
carriage  painter,  however,  is  compelled  to  paint  and  dress  up  all  sorts  and- 
conditions  of  springs.  The  badly  rusted  and  scaly  springs  may  be  thoroughly 
cleaned,  using  a  file  and  hammer  for  the  purpose,  and  the  spring  layers  be- 
ing separated  one  from  another.     Then  coat  with  graphite  paint  or  mineral 


PRACTICAL  CARRIAGE  AXD  WAGON  PAINTING.  153 

brown,  and  in  due  time  finish  up  in  the  usual  way.  Again,  the  inner  surface 
of  the  spring  leaves  is  coated  with  a  lead  and  lampblack  mixture,  "and  later 
given  a  glazing  of  equal  parts  of  unsalted  beef  and  mutton  tallow.  A  third 
formula,  widely  known  as  T/ie  Hub  formula,  because  it  is  said  to  have  origi- 
nated with  that  journal,  has  proven  of  value.  It  is  as  follows:  "Remove  the 
securing  bolts;  place  the  springs  thus  released  from  tension  in  a  bath  of  soft 
water  over  night.  In  the  morning,  with  a  stiff  bristle  or  helix  brush,  in 
water  at  100°  degrees,  scour  the  plates  effectually,  and  remove  the  oxide  by 
means  of  an  ample  use  of  elbow  grease.  Dry  by  sunlight  or  artificial  heat 
in  hardwood  sawdust.  Let  lie  in  warm  sawdust,  at  75°  or  80°  for  from  two  to 
three  hours;  then  give  a  thin  coat  of  clear,  boiled  linseed  oil,  and  when  thor- 
oughly dry  (an  exposure  of  twelve  or  more  hours  is  necessary),  coat  over  by 
means  of  a  sponge  with  a  mixture  of  6  parts  of  commercial  beeswax,  sus- 
pended at  90°,  with  2  parts  of  spirits  of  turpentine.  One  hour  after  applica- 
tion wipe  off  edges  of  all  plates;  then  allow  one  hour  for  hardening  and 
secure  the  plate  with  centre  bolt." 

The  carriage  painter  frequently  has  sign  writing  to  do  on  glass  and  he 
requires  a  reliable  size  to  enable  him  to  get  first-class  leafing.  Russian  isin- 
glass makes  the  best  size,  although  it  is  often  difficult  to  obtain  from  local 
merchants.  To  a  pint  of  soft  water  add  a  piece  of  the  isinglass  ^  in.  square 
and  Doil  until  the  material  is  wholly  dissolved.  Then  add  a  drop  or  two  of 
alcohol,  strain,  and  the  size  is  ready  for  use.  Gelatine,  while  largely  used, 
should  be  used  the  day  it  is  prepared  as  a  size,  otherwise  it  is  not  reliable  in 
its  action.  Put  a  few  shreds  of  the  gelatine  in  a  quart  of  water  and  boil 
until  the  water  is  reduced  to  a  pint. 

Vermilion  is  one  of  the  highly-prized  carriage  painting  pigments,  and  the 
best  is  none  too  good  to  meet  the  requirements  of  good  work.  To  test  the 
color,  heat  a  small  quantity  in  a  porcelain  vessel  over  an  alcohol  lamp.  The 
adulterated  vermilion,  in  burning,  will  leave  a  sediment  either  red,  black,  or 
perhaps  white.  The  genuine  quicksilver  vermilion  invariably  proves  fugi- 
tive when  submitted  to  intense  heat. 

The  refuse  oil  of  pine  or  coal  tar  is  a  useful  oil  to  keep  upon  the  paint 
shop  shelves.  Suppose  a  borrowed  brush  or  a  brush  neglected  in  some  way 
about  the  shop  is  found  dried  up — hardened  to  a  stone-like  condition.  Take 
a  quantity  of  the  pine  or  coal  tar  oil  from  its  air-tight  receptacle,  where  it 
should  be  kept  to  prevent  evaporation,  and  in  the  liquid  suspend  the  injured 
brush  well  up  over  the  bristles.  Three  or  four  days'  immersion  will  usually 
soften  up  a  very  much  abused  brush. 

All  colors  that  are  apparently  changed  in  purity  of  color  when  even  the 
palest  of  varnishes  are  used  over  them,  should  have  a  little  of  the  color  used 
in  each  varnish  coat  up  to  the  finishing  coat  of  varnish.  If  striping  or  orna- 
menting is  used  do  this  work  upon  the  last  rubbing  coat  and  then  finish  with 
the  very  palest  varnish  obtainable. 

Bear  in  mind  this  fact,  namely:    Colors  are  divided  -into  three  cardinal 


154  PRACTICAL  CARRIAGE  AND  WAGON  PAINTING. 

degrees — light,  nicdiuin,  and  dark.  And  the  relative  position  of  the  base 
color  governs  the  intermediate  shades.  In  the  mixing  and  use  of  colors  it  is 
also  a  wise  policy  to  provide  for  the  self-asserting  property  of  the  strongest 
or  controlling  color.  If  this  is  not  done  the  distinctive  character  of  the  color 
sought  for  will  not  for  long  be  retained. 

A  prime  factor  in  finishing  a  carriage  in  natural  wood  consists  in  fir<8t 
thoroughly  cleaning  the  wood  and  then  keeping  it  clean.  All  stains  and  dis- 
colorations  of  the  wood  should  be  sandpapered  out  or  scraped  off  with  steel 
scraper  and  a  piece  of  glass.  Then  a  careful,  uniform  sandpapering  should 
be  given.  Dust  off  and  apply  a  coat  of  raw  linseed  oil.  This  oil  coat  re- 
quires a  clean,  smooth  rubbing  out — as  clean  and  smooth  as  a  coat  of  paint. 
Give  this  oil  coat  from  24  to  36  hours  to  dry  and  harden  cotnpletel}'.  Sand- 
paper lightly,  dust  off,  and  give  the  surface  a  coating  of  some  reliable,  first- 
class,  wood  filler.  As  soon  as  the  filler  takes  on  a  sufficient  "tack,"  rub 
across  the  grain  of  the  wood  with  soft,  clean  rags  until  the  surface  is  free 
from  any  surplus  filler.  If,  after  the  application  of  the  filler,  the  cells  of  the 
wood  remain  unfilled  or  defectively  sealed,  a  second  coat  of  the  filler  will  be 
necessary.  Once  the  filler  has  dried,  mix  a  putty  colored  to  match  the  nat- 
ural color  of  the  wood,  and  putty  nail  and  screw  holes  and  other  cavities. 
This  puttying  should  be  done  so  smoothly  as  to  necessitate  little  or  no  sand- 
papering for  the  purpose" of  leveling  the  putty  spots.  The  whole  surface  may 
now  in  due  time  be  lightly  gone  over  with  No.  0  paper.  Next  dust  off  and 
apply  a  coat  of  pale  rubbing  varnish.  The  striping  is  best  done  on  this  coat. 
Then  give  second  coat  of  rubbing,  surfacing  this  coat,  when  dry,  with  pul- 
verized pumice  stone  and  water,  clean  up  most  thoroughly,  and  finish  with  a 
very  pale  durable  finishing  varnish. 

The  painting  of  one  of  the.se  natural-wood-finished  jobs  often  presents  a 
formidable  problem.  What  is  the  best  method  to  pursue?  That  cannot  be 
answered  decisively;  but  a  reliable  method  is  appended.  First  scrape  and 
sandi)aper  the  old  varnish  clean  and  sleek  to  the  wood.  If  the  wood  is  in 
good  shape  and  not  weather-beaten,  apply  a  coat  of  lead  containing  no  more 
oil  than  is  carried  in  the  keg  lead  as  it  comes  from  the  dealer,  the  pigment 
being  simply  thiiuied  with  turpentine  and  given  a  drying  agent  in  the  shape 
of  a  teaspoonful  of  coach  japan,  to,  say,  each  pint  of  the  mixture.  If  the 
varnish  has  perished,  and  the  wood  is  injured  thereby,  it  is  advi.sable  to  give 
the  lead  a  little  extra  dash  of  oil,  but  not  enough  to  cause  the  lead  to  dry 
with  a  gloss.  Testing  the  lead  on  the  finger  nail  will  determine  the  question 
of  gloss.  When  dry  this  coating  of  lead  should  receive  a  careful  .sandpaper- 
ing, and  a  second  coat  of  lead  mixed  to  dry  "dead,"  and  laid  with  a  camel's- 
hair  brush,  may  go  on.  Too  much  oil  should  be  especially  avoided  in  building 
the  lead  foundation  over  these  natural  wood  surfaces,  as  it  must  be  borne  in 
mind  that  the  grain  of  the  wood  has  been  already  sealed  with  a  hard,  non- 
absorbent  material  into  which  the  usual  first  coat  percentage  of  oil  does  not 
penetrate.     On  this  second  coat  of  lead  all  needed   puttying  is  done.      The 


riiACTJCAL  CAliRIAdE  AXI)  WAGON  PA INTINQ.  155 

sandpapering  which  follows  should  be  very  perfect  and  skillfully  done.  Body 
surfaces  may  next  receive  the  needed  roughstuff  coating  up,  to  he  subse- 
quently rubbed  out  and  carried  through  to  a  finish  in  the  ordinary  way.  The 
running  parts  from  this  lead  coat  foundation  are  colored  and  finished  accord- 
ing to  the  accepted  practice. 

Once  upon  a  time,  my  lamented  friend,  A.  F.  Manchester,  in  the  col- 
umns of  Varnish,  asked  this  pertinent  question:  "Do  you  have  trouble 
with  your  fine  colors  clouding  up  and  losing  their  brilliancy  from  the  var- 
nish?" Replying  to  the  query,  he  suggested  this  plan,  to  the  eflficacy  of 
which  the  writer  is  glad  to  subscribe:  "On  any  transparent  color  (or  any 
color,  in  fact)  always  add  some  of  the  color  to  each  coat  of  rubbing  varnish 
— enough  to  kill  the  amber  tint  of  the  varnish.  This  preserves  the  colors  in 
all  their  original  brilliancy.  Of  cour.se,  this  plan  nece.ssitates  striping  and 
ornamenting  on  the  last  coat  of  rubbing,  but  that  is  just  as  well  as  burying 
all  the  tone  of  the  colors  under  the  varnish.  Then,  again,  it  obliges  the  cus- 
tomer to  have  the  job  revarnished  when  he  ought." 

It  is  not  a  praiseworthy  practice  to  putty  a  carriage  body  after  it  is 
rubbed  out  of  roughstuff,  or  after  the  first  coat  of  color  is  on.  The  puttying 
should  be  attended  to  when  the  job  is  being  roughstuffed — and  before.  All 
places  overlooked  at  the  first  puttying  should  be  attended  to  carefully  upon 
the  first  coat  of  roughstuff.  Puttying  upon  a  roughstuffed  rubbed  panel 
leads  to  premature  surface  blemishes  of  a  most  unhappy  order. 

Certain  of  the  yellows  are  rather  difficult  to  work  nicely  when  used  as 
striping  colors  for  dagger  or  sword  pencils.  Notably  so  is  chrome  yellow, 
which,  by  the  way,  is  a  pretty  foundaHon  for  glazing  with  carmine.  Such 
colors  may  be  remedied  by  adding  a  bit  of  some  body  color  whicli  will  give 
them  a  stronger  covering  property  without  harmfully  changing  the  purity 
of  the  yellow. 

The  subject  of  varnish  rooms  is  an  entertaining  one.  So  many  poor 
varnish  rooms  exist  that  any  plan  to  make  them  better,  so  long  as  it  be  a 
feasible  plan,  merits  attention.  Mr.  F.  J.  Flowers,  an  old-time  carriage  man 
and  an  earnest  advocate  of  the  first-class  varnish  room,  some  time  ago  gave 
his  idea  of  such  an  apartment  in  these  words:  "First,  it  should  not  be  on  the 
top  floor  of  a  building  where  it  gets  all  the  gases  and  fumes  from  the  smith 
and  paint  shops.  It  should  be  round  in  form,  with  a  dome  roof,  ventilated 
and  well  lighted  therefrom;  and  each  light  of  glass  should  be  as  colorless  as 
possible,  and  arranged  so  as  to  prevent  the  direct  rays  of  the  sun,  Itsceiling 
should  be  all  wood,  stained  light  blue  with  water  colors;  the  floor  should  be 
waxed  or  oiled;  the  room,  when  in  use,  should  be  kept  at  an  even  temper- 
ature (not  less  than  65°), and  all  dampness  should  be  avoided.  You  ask,  why 
round?  I  answer,  all  evaporations  form  in  circles  when  ascending;  the  room 
having  no  corners,  there  is  no  back  draught  to  obstruct  them.  Why  lighted 
from  the  roof?  There  will  be  no  cross-lights,  hence  no  conflicting  light.  Why 
ceiled  with  wood?  It  is  dryer  than  plaster  and  will    absorb  the  evaporations 


156  riiACTICAL  CARUlA'iE  AM>   WAdO.W  J'AIXTIXG. 

when  not  coated  with  oil  paint.  \V)iy  color  blue?  It  is  the  spring  light,  and 
gives  the  purest  reflection.  Why  an  even  temperature?  It  will  prevent  the 
condensing  of  the  vapor,  and  thereby  prevent  it  from  falling  back  upon  the 
varnish,  which  gives  it  that  bloomy,  silky,  and  pitted  look  which  we  hear 
so  much  about." 

Upon  heavy  vehicle  work,  such  as  broughams,  landaus,  etc.,  the  inside 
surface  of  glass  frames,  pillars,  door  checks,  and  the  like,  quite  commonly 
go  with  a  polish  finish,  as  it  does  away  with  sticking  doors,  defaced  pillars, 
and  glaring  glass  frames.  The  contrast  between  the  polished  parts  and  those 
reflecting  a  high  brilliancy  of  finish  is  soft  and  pleasing  and  a  grateful  relief 
to  the  eye.  The  parts  referred  to,  having  been  brought  up  to  a  solid  founda- 
tion of  rubbing  varnish,  are  given  a  thorough  surfacing  with  pumice  stone 
flour  and  water.  Next  rub  with  sweet  oil  and  rotten  stone,  using  a  soft 
woolen  cloth  for  the  polisher.  Conclude  the  operation  by  rubbing  wheat 
flour  under  a  clean  bit  of  woolen  until  the  friction  generated  makes  a  gloss. 
The  flour,  in  addition  to  its  other  office,  will  absorb  and  clean  up  the  oil. 

A  very  quick  drying  striping  color  is  frequently  demanded — one  that 
can  be  varnished  over  in  an  hour  after  application,  or  sooner.  Mix  the  pig- 
ment in  equal  parts  of  rubbing  varnish  and  coach  japan.  Then  thin  to  the 
proper  working  consistency  with  turpentine. 

In  painting  over  metallic  surfaces,  which  the  carriage  and  wagon  painter 
frequently  finds  it  necessary  to  do,  it  is  essential  to  first  know  that  such  sur- 
faces are  thoroughly  clean  and  free  from  acids,  grease,  etc.  Give  them  a  rub 
over  with  kerosene  or  benzine,  and  then  wash  with  soap  and  water,  conclud- 
ing with  a  generous  rinsing  off  with  clean  water.  If  the  surface  is  too 
heavily  saturated  with  paint  injuring  accumulations,  give  it  a  wash  with 
water  containing  sal  soda  in  the  proportion  of,  say,  ><  to  ^  lb.  of  the  soda 
to  5  or  6  quarts  of  water.  A  rinsing  with  clean  water  will  now  afford  a  clean 
surface  over  which  to  paint.  The  metallic  surface  being  clean,  it  remains 
for  the  painter  to  give  it  a  hard,  solid  surfacing  with  No.  l'-  sandpaper,  in 
order  to  develop  the  neces.sary  minute  furrows  and  scratches  to  give  the  pig- 
ment a  "bite"  or  a  chance  to  grip  fa.st.  Instead  of  sandpapering,  the  prac- 
tice holds  good  in  some  shops  of  rubbing  the  surface  with  a  fire  brick  as  a 
means  of  trenching  and  channeling  it  to  the  required  extent. 

The  vehicle  painter  located  in  the  small  shop  and  not  usually  using  a 
very  considerable  quantity  of  varni.sh  daily,  should  buy  his  .supply  of  this 
material  in  small  cans— pints  and  quarts  for  example.  Onceacan  is  opened, 
the  varni.sh,  through  repeated  exposure  to  the  air,  quickly  begins  to  grow 
fatty,  and  after  a  time  the  loss  of  the  turpentine  leaves  it  in  an  unfit  condi- 
tion to  work  .satisfactorily  over  a  fine  surface.  A  rubber  stopper  is  the  best 
kind  of  a  varnish  can  stopper,  because  it  does  not  crumble  and  break  into 
bits  like  the  cork,  and  it  is  the  closest  possible  approach  to  an  air-tight 
device. 

The  painter  has  but  small  use  for  the  varnish  that  has  to  be  thinned  with 


PRACTICAL  CAIllilACE  AND  WACOX  I'AlXriNG.  157 

turpentine  in  order  to  give  it  the  proper  spreading  and  flowing  property. 
The  elements  of  durability  and  brillancy  of  lustre  are  in  great  danger  of 
being  greatly  impaired,  if  not  quite  wholly  destroyed,  when  shop  thinning 
of  varnishes  is  practiced.  To  attempt  to  successfully  cut  the  solidity  of  var- 
nish with  turpentine  added  in  hit  or  miss  fashion  constitutes  a  direct  injury 
to  this  manifestly  sensitive  and  delicate  material.  Thinning  varnish  shauld 
be  resorted  to  only  when  an  extremely  critical  emergency  presents  itself. 

To  provide  a  tight,  dust-and-smoke-proof  floor  for  the  varnish  room, 
proceed  in  this  wise:  Cut  strips  of  stout  wrapping  paper  to  the  proper 
length  to  fit  lengthwise  of  the  floor.  Coat  one  side  of  the  paper  with  trim- 
mer's paste,  and  then  lay  the  strips  on  smooth  and  free  from  wrinkles.  Allow 
the  second  strip  to  overlap  the  first  one  fully  2  inches.  Continue  overlap- 
ping until  the  floor  is  covered.  When  the  first  layer  or  covering  has  laid 
long  enough  to  provide  for  the  complete  drying  of  the  paste,  lay  a  second 
course  of  the  paper  in  the  same  manner,  and  in  due  time,  if  necessary,  apply 
a  third  course.  Then  apply  a  coat  of  yellow  ochre  paint,  mixed  oil  and  tur- 
pentine, in  the  proportion  of  }(  oil  to  ^  turpentine,  with  a  tablespoonful  of 
japan  added  to  each  pint  of  the  paint.  The  second  coat  of  ochre  may  be 
mixed  in  53  hard  drying  implement  varnish  to  yi  japan. 

Mr.  P.  C.  Hoebel,  in  Varm's/i,  interestingly  decribes  his  method  of 
painting  over  a  cracked  and  fissured  surface,  and  avers  that  it  has  for  many 
years  proven  uniformly  successful.  Mr.  Hoebel  says:  "Instead  of  sanding 
down  the  old  varnish,  I  skin  it  off  by  the  use  of  ammonia  and  a  stiff  bladed 
putty  knife.  Then  rub  down  with  block  rubbing  stone  and  let  stand  over 
night  to  dry  out.  Next,  a  good  sandpapering  with  No.  1  paper;  dust  thor- 
oughly. Then  apply  a  mixture  composed  of  1  part  drop  black,  1  part  keg 
lead,  and  the  same  amount  of  dry  lampblack.  Add  a  little  rubbing  varnish. 
Thin  to  a  proper  working  consistency  with  turpentine.  Next  day  putty - 
glaze  the  entire  cracked  surface  with  not  too  soft  putty.  Use  the  regulation 
hard  drying  carriage  painter's  putty.  This  putty  should  dry  hard  enough 
to  sand  well  the  following  day.  The  sandpapering  of  this  putty  is  of  the 
greatest  importance  and  requires  an  extra  amount  of  elbow  grease.  The  job 
is  now  ready  to  receive  the  proper  ground  work  for  its  respective  color  which 
is  to  be." 

In  wagon  painting  some  exceedingly  light  and  delicate  tints  are  used, 
and  driers  for  such  tints  adapted  to  the  delicacy  of  coloring  are  needed.  Ap- 
pended is  a  formula  for  a  drier  of  this  kind:  Mix  15  parts  of  sulphate  of  zinc, 
4  parts  sugar  of  lead,  and  7  of  litharge,  with  pure  linseed  oil,  and  grind  the 
mixture  in  a  paint  mill  very  fine;  then  mix  100  parts  of  paris  white  to  a 
dough  with  50  parts  of  white  lead  and  linseed  oil.  Grind  this  also  very  fine 
in  the  mill,  then  mix  all  together,  grinding  once  more. 

It  is  possible  now  and  then  to  remedy  a  case  of  pitted  varnish  in  this 
manner.  The  morning  after  the  varnish  is  applied  cover  the  surface  with 
clear  turpentine.     Let    the  turps  gradually  soak  up  and  soften  the  pitted 


158  PRACTICAL  CARRIAGE  A XI)  WAGON  PAINTING. 

varnish,  adding  more  turps  as  required.  When  the  varnish  has  become  suffi- 
ciently softened,  mix  a  little  raw  linseed  oil  with  the  turpentine  (the  oil 
holding  the  turps  in  check  and  preventing  it  from  cutting  into  the  under 
coats)  and  with  a  soft  badger-hair  brush  proceed  to  "lift"  the  afflicted  varnish 
coat.  The  varnish  once  removed,  let  the  surface  stand  for  a  few  hours, 
then  give  it  a  light  rubbing  over  with  a  moistened  sponge  dipped  in  finely 
pulverized  pumice  stone.  Follow  with  a  thorough  washing  with  clean  water 
and  revarnish. 

Color  and  varnish  strainers  are  a  necessity.  Cheese  cloth,  cut  into  6- 
inch  squares,  gives  a  very  practical  kind  of  strainer.  All  colors  that  have 
stood  for  some  time  after  mixing  require  straining  before  being  used.  And 
finishing  varnish — all  varnish,  in  fact,  should  be  strained  as  the  final  con- 
tents of  the  can  are  approached.  Many  first-class  finishers  insist  upon 
straining  all  the  varnish  they  use;  and  cheese  cloth  serves  the  purpose  of  a 
good  strainer  at  a  low  cost. 

The  best  stroke  for  squaring  up  varnish  has  often  been  discussed  at 
length,  and  it  seems  to  be  the  decision  of  the  leading  finishers  of  the  coun- 
try that  the  horizontal  stroke  is  to  be  preferred  to  the  vertical.  To  the  be- 
ginner the  former  is  probably  the  most  difficult  to  use,  the  danger  of  runs, 
sags,  etc.,  seemingly  being  thereby  intensified.  The  natural  flow  of  varnish, 
as  the  finishers  all  may  know,  is  downward,  and  the  horizontal  stroke  of  the 
brush  does  not  arrest  this  flow  or  divert  it  from  its  accepted  course.  The 
vertical  .stroke,  however,  permits  of  a  varnish  flow  in  at  least  two  directions 
■ — sideways  and  downward.  Runs  and  other  surface  defacers  are  equally 
possible  with  the  horizontal  or  vertical  bru.sh  stroke.  Immunity  from  such 
disturbers  depends  altogether  upon  the  uniformity  and  equality  with  which 
the  varni.sh  has  been  flowed  upon  the  surface. 

To  renovate  and  give  a  fresh  new  look  to  cushions  and  backs,  when 
faded,  thin  the  desired  color  down  with  turpentine  until  it  can  almost  be 
called  a  wash,  and  apply  the  mixture  very  thinly.  Allow  the  color  to  dry 
thoroughly,  and  then  thin  shellac  with  alcohol  until  a  very  thin  shellac  is 
provided  and  coat  the  articles  with  this,  following  immediately  with  a  smart 
polishing  with  neatsfoot  oil  and  then  wiping  dry  with  clean  woolen  cloths. 

The  twine  used  for  bridling  paint  brushes— and  the  twine  bridle  is  the 
favored  kind  in  the  carriage  paint  shop — should  be  run  through  melted  tal- 
low and  beeswax  before  put  to  use.  After  the  tallow  and  wax  has  cooled  on 
the  twine,  the  bridling  may  proceed.  After  the  twine  is  in  position  on  the 
brush,  run  a  little  of  the  warm  grease  and  wax  over  it.  Thus  a  more  durable 
and  more  easily  cleaned  bridle  is  given  the  brush. 

Imitation  vermilions  are  considerably  favored  of  late  years,  but  they 
fade  after  the  manner  of  a  late  autumn  twilight  unless  amply  protected  by 
varnish.  Given  adequate  varnish  protection  they  show  radiant  colors  and 
wear  durably. 

The  country  carriage  painter  is  no  stranger  to  the   vehicle,   the  family 


PRACTICAL  CARRIAGE  AND  WAGON  PAINTING.  159 

heirloom,  perchance,  that  comes  into  the  shop  with  hubs  split  and  shattered, 
and  axle  grease  filtering  up  through  the  cracks  saturating  the  wood  and 
making  it  generally  unpaintable.  An  old  carriage  painter  advises  this  treat- 
ment in  order  to  cause  the  paint  and  color  to  dry  over  the  afflicted  parts: 
First  give  the  hubs  a  wash  with  gasoline  or  benzine,  working  the  fluid  well 
into  the  cracks.  Give  plenty  of  time  for  evaporation  to  occur.  Then  with 
shellac  cut  wdth  a  little  ether,  fill  in  the  fissure.  Next  make  a  putty  of 
plaster  of  paris  mixed  with  the  shellac  and  ether.  Into  the  fissures  force  this 
mixture,  keeping  it  clearly  from  the  outside  surface  of  the  hub,  as  nothing 
short  of  a  file  will  level  it  after  it  has  dried.  Give  the  putty  a  nice,  smooth 
dressing  off  upon  the  filling  of  each  crevice. 

The  business  wagon  occasionally  contains  a  window  glass  that  should 
go  in  imitation  of  frosted  glass.  Take  finely  ground  whiting  and,  vvith  ^ 
raw  linseed  oil  to  yi  japan,  mix  to  a  rather  stiff  consistency;  and  then  with 
turpentine  reduce  to  a  condition  to  work  easily  under  a  camel' s-hair  brush. 
Let  the  mixture  be  spread  quickly  and  uniformly  even  upon  the  glass.  Then 
take  finely  shredded  cloth  and  roll  it  into  a  ball  and  cover  with  a  clean  cotton 
cloth  and  proceed  to  go  carefully  over  the  freshly  laid  on  whiting,  softly  tap- 
ping it,  until  the  frosted  imitation  is  brought  clearly  and  prettily  into  relief. 

A  surface  that  has  become  dented  by  a  blow  from  a  hammer  or  other 
blunt  instrument  can  be  remedied  by  so  placing  the  surface  that  the  dent  or 
depression  will  hold  a  little  water  poured  into  it,  and  then  holding  a  lighted 
taper  to  the  water  until  the  heat  thus  generated  in  the  minute  body  of  water 
causes  the  wood  to  again  assume  its  natural  shape  and  condition.  In  dent- 
ing the  wood,  if  a  positive  rupture  does  not  occur  at  the  edge  of  the  depres- 
sion the  strain  of  the  wood  has  occured  in  two  distinct  directions — inward 
and  lengthwise — and  the  reaction  when  it  takes  place  will  be  two-fold.  A 
second  way  of  treating  such  surface  difficulties  consists  of  boring  with  a  gim- 
let through  the  compressed  fibres  of  the  wood  until  the  sound  timber  is 
reached.  This  puncture  will  counteract  the  lengthwise  reaction.  Then 
moisten  with  tepid  water  until  the  wood  recovers  its  natural  position  again. 
The  bruise  or  dent  with  fractured  edges  is  more  easily  repaired,  as  no  reac- 
tion need  be  feared,  the  pressure  of  the  tool  making  the  depression  having 
overcome  the  natural  resistance  of  the  wood;  and  destruction  of  resistance 
results,  as  may  be  naturally  inferred,  in  destruction  of  all  reactive  functions. 

If  the  carriage  or  wagon  painter  at  any  time  wishes  a  varnish  to  dry 
without  gloss  he  may  dissolve  4  ounces  of  beeswax  in  turpentine  and  add  to 
1  quart  of  varnish.  This,  while  not  reducing  the  body  of  the  varnish,  will 
cause  it  to  dry  without  much,  if  an}',  lustre.  It  will  work  from  the  brush 
freely  and  wear  durably.  If  only  a  subdued  gloss  is  desired,  use  2  ounces  of 
beeswax  to  1  quart  of  varnish. 

The  window  sashes  in  business  wagons  that  are  painted  in  some  of  the 
dark  fashionable  greens  offer  a  beautiful  contrast  to  the  body  color  if  grained 
mahogany  color.     For  the  ground  color  for  the  mahogany  use  white  lead, 


160  PRACTICAL  CARRIAGE  AXI)  WAGON  PAINTING. 

burnt  sienna,  and  a  bit  of  raw  sienna  for  the  toning  ingredient.  Putty,  if 
necessary,  upon  the  first  ground  coat.  Two  coats  should  suffice  to  give  a 
dense,  stable  ground.  Burnt  sienna,  wet  in  stale  beer,  forms  the  graining 
material.  Apply  with  a  .soft  brush,  wipe  quickly  out  with  a  soft,  fleecy 
sponge,  use  the  blender  lightly,  and  the  trick  is  done. 

The  finisher  should  never  assume  the  responsibility  of  adding  driers  to 
varnish.  Varnish  is  composed  of  peculiarly  sensitive  and  susceptible  ingre- 
dients responding  to  the  slightest  influences,  good  or  ill,  and  the  addition  of 
siccatives  only  tends  to  make  the  action  of  the  varnish  uncertain.  It  is  only 
for  the  time  being  that  the  driers  unite  and  form  a  part  of  the  varnish. 
During  the  operation  of  applying  to  the  surface  the  varnish  forsakes  or  sep- 
arates the  shop-added  siccative,  with  the  result  that  pitting  and  pin-holing, 
along  with  other  burdensome  deviltries,  are  developed.  No,  shop  mixing  of 
driers  with  varnish  is  not  advisable. 

My  esteemed  confrere,  Mr.  J.  G.  Cameron,  makes  public  this  worthy  ob- 
servation, with  Varnish  as  his  medium  of  circulation:  "Every  varnish  room 
should  have  a  window  through  which  the  direct  rays  of  the  sun  passes  dur- 
the  afternoon.  It  should  be  curtained  and  have  a  small  slit  or  hole  in  the 
curtain  for  a  slice  of  sunlight  to  stream  through.  This  slice  of  sunlight  will 
reveal  the  condition  of  the  air  within  the  room  and  tell  the  varnisher  just 
how  must  dust  he  will  have  to  contend  with  that  day.  If  this  ray  shows 
that  the  air  is  loaded  with  magnetic  dust,  it  would  be  well  for  him  to  sprinkle 
well  every  suspicious  place  within  the  varnish  room.  Some  days  sprinkling 
is  not  needed;  such  days  as  rainy  ones  or  right  after  a  rain 'storm.  On  windy 
days,  window  sills  and  any  place  where  the  air  is  likely  to. drift  through 
should  be  wet  down.  But  on  magnetic  days  the  floor  and  every  place  should 
be  well  wet  down.  A  varnisher' s  clothes  should  be  also  scrupulously 
groomed  off.  The  writer  has  varnished  often  with  a  damp  'shammy'  wrapped 
round  his  wrist  and  arm  to  keep  the  dust  from  his  underclothing  from  troub- 
ling him." 

Beware  of  the  black  color-and-varnish  that  carries  a  dash  of  too  much 
color  in  it.  Black  of  high  or  low  degree,  such  as  is  used  in  carriage  painting, 
may  be  cla.s.sed  as  a  non-drying  material.  Finishing  varnish  applied  over  a 
color-and-varnish  containing  too  great  a  percentage  of  color  is  exceedingly 
liable  to  strike  into  this  improperly  hardened  undercoat  and  lose  the  beauty 
of  its  lustre  thereby.  In  carriage  part  finishing  done  upon  the  color-and- 
varnish  coat  the  trouble  here  noted  should  be  guarded  against. 

Ornamental  striping  upon  business  wagons  should  never  be  done  with 
the  heavy  stripe.  Retain  the  same  style  of  striping  throughout  a  job.  Throw- 
ing in  two  or  three  styles  of  line  work  on  a  job  is  an  affront  tq  good  taste  of 
which  no  up-to-date  painter  .should  be  guilty. 

A  fine  old  woodworker  once  told  my  lamented  friend,  Mr.  C.  E.  Vader, 
how  to  make  a  saw  with  which  to  cut  block  pumice  stone.  He  said: "Take 
a  piece  of  band  iron  1^  or  2  inches  wide  and  18  inches  long;  put  one  end  in 


PRACTICAL  CATililAGE  AXI)   MVU.'O.V  I'AIXTIXf!.  16J 

the  vise  and  then  get  a  sharp  cold-chisel.  Be  sure  to  have  it  sharp.  Slant 
the  chisel  45°  from  you  and  tip  to  the  left  and  strike  quite  a  blow.  Next  time 
turn  chisel  to  the  right,  or  just  try  to  cut  some  saw  teeth  in  this  iron.  You 
can  cut  and  set  them  at  the  same  time.  Don't  make  teeth  too  far  apart. 
This  will  cut  as  much  pumice  stone  as  a  well  filed  and  set  saw  would." 

In  an  essay  on  "How  to  Make  Coach  Varnish  go  Wrong,"  published 
by  a  prominently-known  varnish  making  firm  .some  time  since,  this  advice 
was  tendered:  "Practice  hospitality!  Let  everybody  go  in  and  out  of  your 
varnish  room  freely.  Don't  have  a  small  door  cut  in  the  large  one,  and 
don't  shut  off  your  varnish  room  from  the  other  rooms.  Let  the  temper- 
ature of  your  varni.sh  room  vary  as  much  as  possible.  Under  no  circum- 
stances allow  it  to  remain  the  same  for  two  consecutive  hours.  Let  it  fall 
far  below  70°  or  rise  far  above  80°;  but  above  all  things,  wm/r  //  vaty.  In 
the  winter  season  let  the  fire  go  out  occasionally,  and  be  sure  to  select  this 
as  the  proper  time  to  open  the  window  to   see  what  is  going  on  outside." 

One  of  the  strong  selling  factors  of  a  vehicle  consists  of  a  first-class  in- 
terior finish.  A  prospective  customer,  as  a  rule,  is  quick  to  perceive  the 
finish  of  the  inside  surface;  and  nothing  tends  more  powerfully  to  cheapen 
the  looks  of  an  otherwise  faultlessly  finished  job  than  a  slovenly  surfaced  and 
finished  carriage  body  interior.  One  doesn't  need  to  insist  upon  the  same 
high  standard  of  cleanliness  tor  the  inside  as  the  outside,  but  good  surfacing 
and  an  excellent  freedom  from  dirt,  motes,  etc.,  should  be  maintained  in  the 
finishing  of  interior  surfaces. 

In  the  finishing  of  carriages  in  the  natural  wood,  gum  shellac  should 
not  be  used  to  fill  up  the  grain  of  the  wood.  Shellac  is  of  an  entirely  too 
brittle  nature,  devoid  of  elasticity,  to  be  used  upon  a  surface  subject  to  su.s- 
tained  vibrations  with  accompanying  violent  jars  and  jolts.  For  first-class 
carriage  work  shellac  is  good  only  when  not  used. 

Another  strongly  recommended  method  of  filling  up  cracks  and  fissure.'} 
in  coach  panels  embraces  the  employment  of  equal  parts  of  English  filling, 
dry  white  lead  and  whiting,  mixed  with  equal  parts  of  japan  and  rubbing 
varnish.  To  this  add  ^  the  quantity  of  rye  flour  paste,  stirring  the  mass 
into  a  thick  consistency.  This  is  applied  with  an  old  paint  brush,  and  when 
it  has  set  and  stiffened  considerably  upon  the  surface  it  is  knifed  in  with  a 
broad-blade  putty  knife,  and  two  days  later  it  is  rubbed  down  with  a  block 
of  pumice  stone  or  a  fine  rubbing  brick. 

A  putty  for  resetting  glass  in  coach  frames  is  made  of  7  parts  whiting 
and  1  part  white  lead  mixed  to  the  correct  working  consistency  in  raw  lin- 
seed oil,  adding  a  little  japan  gold  size  to  furnisli  the  proper  drying  quality. 
If  the  putty  is  to  be  use  upon  black  frames,  darken  sufficiently  with  ivory 
drop  black,  instead  of  lampblack,  and  lessen  proportionately  the  japan  used. 
This  putty  can  be  depended  upon  to  remain  in  place  and  securely  hold  the 
glass  in  the  frames. 


ix  rUACTirAL   (AinUAdK  AXP   H'.l^O.V  I'AIXTIXG. 

THE   LARGEST   IN   THK   WORLD 

Robert  Ingfham  Clark  &  Co., 

MAM   FACTrRERS   OF  THE  CELEBRATED 

Britannia  English  Varnishes. 

LONDON.  PARIS.  HAMBURG. 


The  Britannia  Finishing  \^arnishes  of  the  Robert  Ingham 
Clark  &  Co.  manufa(5lure  are  sold  in  every  part  of  the  civilized 
world.  The  extreme  durabilit}'  of  their  varnishes,  combined  with 
their  brilliancy,  easy-working  and  quick-drying  properties,  make 
them  the  best  and  safest  varnishes  for  carriage  and  car  work  to 
be  found  on  the  market.  These  goods  are  put  up  in  gallons, 
halves  and  quarts;  also  in  12^2  gallon  drums.  Samples  will  be 
furnished  on  application. 

PRATT  &  LAMBERT, 

AOENTS    FOR    THE    UNITED    STATES    AND    MEXICO, 

Long  Island  City,  370=378  Twenty=Sixth  St., 

NLW  YORK.  CHICAGO. 


rUAL-riCAL   VAHRIA(;i:  AM)   WAdOS   I'AIXJ'IXa. 

Carriage  Varnishes  and  Japans 
of  Unequalled  Quality  ^  ^  ^ 


Specia.1  CrimsonL  Color  Varnish 

An  unrivalled  undercoating  for  the  finest  work. 
Works  very  freely,  covers  splendidly,  has  a  beau- 
tiful color  and  holds  the  latter  wonderfully.  Can 
be  "  mossed  "  off  in  twelve  hours. 

CIea.r  Rubbing  Varnishes  of 
Highest  Qua^lity 

Work  and  rub  very  easily.  The  standard  for  qual- 
it}^  for  twenty-five  years. 

Nonpareil  Japan. 

A  wonderful  drier  and  binder.  Exceedingly  pale 
in  color,  and  never  equaled  in  quality. 

Pale  Body  Finishing 

Made  up  on  a  new  formula  and  ha\ing  no  equal 
for  a  high-grade  finishing  \'arnish.  Works  easily, 
flowg  out  finely  with  a  splendid  lustre,  giving  a 
very  fine  surface  over  touch-up  work,  and  is  thor- 
oughly reliable  in  all  respects. 


CHICAGO  VARNISH  COMPANY 

(Established  1865) 

Dearborn  &  Kinzie  22  Vesey  Street  66  High  Street 

CHICAGO  NEW  YORK  BOSTON 


FRACTICAL  CARlilAGE  AND  WACrON  PAINTING. 

THE  EASY  WAY. 


The  averai^e  actor  must  rehearse  the  new  piece  several 
times,  and  each  rehearsal  uses  up  half  a  day.  Then  he  needs 
the  prompter  to  help  him  out  with  the  first  few  performances  : 
and  his  anxiety,  lest  he  forget,  wears  on  his  nerves  and  worries 
the  other  actors  and  causes  the  manager  to  say  things,  and  com- 
pels a  great  many  scenes  of  battle  and  sorrow  not  writ  in  the 
play.  Edwin  Booth  never  needed  the  prompter,  and  he  re- 
hearsed but  once.  He  had  it  all  in  his  mind  so  familiarly,  before 
he  came  to  the  stage,  that  he  went  through  it  without  an  effort. 
He  said  he  was  lazy,  and  that  was  the  easiest  way. 

We  appeal  to  your  laziness.  Why  not  make  business  easy  ! 
What's  the  use  of  worrying,  and  making  mistakes,  and  doing  it 
over  again,  and  getting  rattled,  and  keeping  the  factory  in  a 
turmoil,  and  having  angry  customers,  and  losing  trade,  and  walk- 
ing up  and  down  at  night,  and  saying  things  !  If  you  have  the 
right  kind  of  varnish  on  the  right  kind  of  color  your  work  will 
go  smoothly,  your  nerves  will  be  in  good  condition  when  you  are 
an  old  man,  you  will  get  the  reputation  of  being  wise  and  good, 
your  funeral  sermon — so  long  delayed — will  be  delivered  with  a 
clear  conscience. 

Just  think  a  little  beforehand:  that  is  all.  We  keep  our- 
selves well  and  happy  by  making  \'arnish  and  color  which  have 
no  battle  scenes  in  them.  Come  now  :  let  us  trade  together,  and 
show  the  world  how  pleasant  a  thing  is  business — properly  done. 

Murphy  Varnish  Co. 


PRACTICAL  CAHUIAGE  AND  WAGOy  PAINTING.  xii 


NEW  YORK 


\l/ 


John  W.  Masury  &  Son 

MANUFACTURERS  OF 

Superfine  Colors  Ground  in  Japan 

Pure  Colors  Ground  in  Oil 

Artists'  Tube  Colors 

Fine  Carriage  Varnishes 

Wagon  Paints 

Carriage  Gloss  Paints 

Miscellaneous  Varnishes 

and  Japans 


\i/ffy\»/^f\\i/^f>\i/^f>\i/^fy\i;^f\\i/^nu/^f>\i/^fy\^/^fyv^/^f>\^/ 


CHICAGO 


ii;^n\i/<^n\ii^n\i/^f\ii/^f\\i/^fyii/^fy\^y^f>\i/^fMi/^f\\^/^fy\^/ 


PRACTICAL  CARlilAdE  AND  WAGOX  PAIXTIKG. 

urreyUvrnish  (S. 


866  AND  863 

NORTH    HOYN"    Ave. 


Jl  CHICAGO.   ILLINOIS. 


Good  Old-Fashioned  Varnishes  and  Japans 


WILLIAM  FISHER 

FOUNDER    OK    THE 

SURREY  -VARNISH  CO., 

CHICAGO,   1 89 1 
GRANDSON  AND  PUPIL    IN 
\'ARNISH  MAKING  OF 

WILLIAM  HARLAND 

ORIGINATOR  OF 
THE  FIR]\I  OF 
\VM.   HARLAND  cS:  SON 
MKRTON,  SURREY, 
ENGLAND,  I  79 1. 


The  quality  of  a  \'arnish  di-pcnds  upon  the  time  and  skill  de- 
voted I0  its  niamifacture,  and  not  altogether,  as  many  suppose, 
upon  the  materials  from  wliich  it  is  made. 

IN  ALL   OUR  FINISHING    VARNISHES  WE  USE 
ONLY  THE  SLOW  ENGLISH, PROCESS. 


Our  Two=Day  and  lPour=Day  Carriage  Rubbing 
Varnishes  are  the  Best  in  the  World. 

urreyVSirnish  (5. 

Jl  CHICAGO.  ILLINOIS.    Vif 


866  AND  868 

NORTH   HOYNE   AVE. 


PRACTICAL   CAinUACE  AM)   ll'.K/O.V  J'AIXTIXG. 


STANDARD 

GflRRIflGE  VARNISHES 


EXCEL   IN 

FREE   FLOWING  SAFETY 

UNIFORMITY 
LUSTRE  AND  DURABILITY 


IT  IS  IMPOSSIBLE 

to  obtain  best  results  unless 
you  use  the  best  material  and 
there  are  no  better  ^  ^  j-  ^  ^ 

Rubbing  or  Finishing 

Varnishes  in  the  market  than 
those  made  by  the  ^  ^  .j-  j-  ^ 

STANDARD  VARNISH  WORKS 

The  Largest  Varnish  Works  in  the  World 
FACTORIES,    COVERING  i  acres.    ELM    PARK,  S.   I. 


GENERAL   OFFICES 

...29    BROADWAY...  ruirAro 

LONDON  CHICAGO 

23   BILLITER   STREET  NEW     YORK  2629    DEARBORN   ST. 


vx  rHACTICjlL  CARJilAUE  AyV   WAGOX  FAINTIXQ. 

£^    tY>  t* ?  t * ?  t * >  *'j^*  **J^*  **J^*  *T^*  iTdT*  r!2 


ARMSTRONG  &  McKELVY 

Pittsburgh 

PURB 

BEYMER-BAUMAN 

Pittsburgh 

DAVIS-CHAMBERS 

Pittsburgh 

FAHNESTOCK 

Pittsburgh 

ANCHOR            ) 

r          Cincinnati 

ECKSTEITJ         ) 

wmib 

LKAD 

ATLANTIC       1 
BRADLEY 

AND 

BROOKLYN 
JEWETT 

New  York 

PURE 

ULSTER 
UNION 
SOUTHERN 
SHIPMAN 

'■              Chicago 

LINSEED 
OIL 

COLLIER 

MISSOURI 

RED  SEAL 

SOUTHERN 

TOHN  T.  LEWIS 

MORLEY 

SALEM 

CORNELL 

KENTUCKY 

St.  Louis 

&  BROS.  CO. 

Philadelphia 
Cleveland 
Salem, Mass. 
Buffalo 
Louisville 

and  3'oii  will  know  exa(5lly 
what  you  are  getting — ab- 
solutel}'  the  best  and  most 
economical  paint  in  exist- 
ence. Employ  a  responsi- 
ble, pra(5lical  painter  to 
apply  it  and  the  result  will 
be  satisfacflory. 

Nfltinnal  1  p^rl  Rn 

^  * J^  ^I^  ^J)  5^  ^v  w  w  w 


No.  lOO  William  Street, 
NEW  YORK. 


ratuiiiiiiiiiiaiiiiiiiiuaiiiiiiiaiiiiiiiuiiiuuiauiiauiiuiiauiui^ 


PRACTICAL  CARIUAGE  AXJJ  WAdOX  I'AINTIXG. 


BERRY  BROTHERS 


(LIMITED) 


MANUFACTURERS  OF 


CARRIAGE 
VARNISHES 


NEW  YORK.  BOSTON.  PHILADELPHIA. 
BALTIMORE.  CINCINNATI,  CHICAGO. 
ST.  LOUIS.   SAN  FRANCISCO 

MAIN  OFFICE     DETROIT 


xvii       ••  PRACTICAL   LAmtlAdE  A2^D   WAdUX  PAiy'I'iyG. 

LUCAS  HELPS 

Lucas  Coach  Colors 

Send  for  paniplilet  sliowinK'-  .")4  beautil'ul  coldrs  we  ciuvy 
in  stock.  Have  von  ever  tried  our  Lucasiiie  \'ennilions, 
Lipht  Koval  (Jreen.  Aurora  Lal<e.  Deep  Orany^e  Yellow. 
Cobalt  Bliie';' 

Lucas  A.  L  &  V.  AL  Colors 

Send  tor  sample  cards,  showing-  up-to-date  harmonious 
combinations  for  painting  the  body  and  gears  of  wagons. 

Lucas  Primers 

\'eniiilion,  Lead  Color  and  Orange. 
Light  gravity  for  dipping:  heavy  gravity  for  brush  work. 

Lucas  Iron  and  Steel  Fillers 

For  the  heavv  iron  parts  of  carriages  and  wagons  of  all 
kinds.    They  are  tough,  elastic,  and  will  stand  hammering. 

Lucas  Wood  Fillers 

Paste  and  Liquid. 
For  tilling  and  priming  Oak,  Hickory  and  Ash:  particu- 
larly useful  for  work  finished  in  the  natural  colors. 

Lucas  Coach  Varnishes 

( )ur  hard  dryingcoach  rubbinggi  ves  universal  satisfaction. 

Lucas  Coach  Drying  Japan 

Thoroughly  reliable.  Always  uniforiu  in  strength  and 
general  working  qualities. 

Lucas  Black  Enamel  Top  Dressing- 
Tip  top  for  general  repairs.  I'ne.xcelled  for  leather  and 
cloth  tops  and  curtains. 

Lucas  Phenom  Varnish  and 
Paint  Remover 

<Juick.  energetic,  etlective.  Does  not  raise  tlie  grain  of 
the  wood.     An  indispensible  article  in  every  paint  shoi». 

JOHN  LUCAS  6;  CO.. 

Practical    Manufacturers    Colors,    Paints,    VarnisHes. 
NE>V  YORH       PHILADELPHIA       CHICAGO 


"%MWWWWMftWW 


/7- 


>r 


PRACTICAL  CAlililAdE  AM)   WAdOX  1'AL\T1NG. 


will 


JUST    ISSUED 


THE  HOME   MECHANIC 


COMPLETE  SELF-INSTRUCTOR. 


H 


A  WHOLE  LIBRARY     SQi 
IN  ONE  BOOK.  ^ 

FULL  COMPENDIUM  ot  Indisijensable  Infor- 
niaiion  aud  liisi  ruction  in  tLe  most  useful 
Mechanical  Trades.  Each  Part  has  been  pre- 
pared by  a  Specialist  vho  is  Master  of  his  Trade. 
Tl.e  Instruction  is  TliorouKh  and  I'ractical.  Tliisbook 
will  enable  jou  to  do  many  lit  He  tiling's  that  you  now 
have  to  pay  for  and  will  t  bus  save  Hundreds  of  DollarB 
in  any  household.  No  other  book  has  ever  been  pub- 
lislied  t  hat  treatsof  so  many  of  tlie  trades  or  t  list  con- 
tains on  any  one  of  them  information  bo  thoroughly 
practical  in  character. 

Paict  L  is  devoted  to  Carpentry.  It  describes  the 
Tools,  tells  How  to  Select  Them  and  Keep  Them  in 
Oi  der,  aid  lb  .w  to  Use  Them  ;  IIow  to  I  it  up  a  Shop 
atidto  Wake  the  Various  Appliances,  and  h(Av  to  do 
All  Sorts  of  Work,  from  Planing  a  Board  to  Puilding 
a  Fouse.  A  descript  i(  n  aud  t  heSeleciion  of  Builders' 
Hardware,  ai-d  another  to  the  Makinpof  Specifica- 
tions. Everything  is  Fully  Illustrated  by  Engravings. 
PAr.TlL  is  devoted  to  Painting— tells  exhaustively 
how  Paints  are  Prepared,  Mixed  and  Ai  plied,  ard 
How  to  Make  and  Use  Varnishes  ard  iJryers.  It 
gives  Full  and  Plain  Informr.ticn  about  Colors  and 
Tints,  also  about  Graining,  Staining  on  Gkss,  as  well 
as  Wood  ;  Lettering,  Glazing,  and  Paper  Hanging. 

Part  III.  treats  of  Sijrn,  Carriage  atd  Decorative 
Painting,  and  contains  ]<  ull  lulorniatic  n  and  Instruc- 
tions as  to  Frescos  and  Walls  and  Interior  Ornament- 
ation that  is  to  be  found  elsewhere  only  in  High- 
priced  Volumes.  The  Technical  Knowledge  that  it 
imparts  of  Pillars  and  Scrolls,  Ceilings  ai'.d  Borders 
and  Koom  Decorations  is  worth  many  tinn-s  the  price 
of  the  whole  book,  and  this  can  be  as  truly  said  of 
the  Practical  Instruction  in  Carriage  Painting,  and 
also  that  in  Sign  Painting,  which  includes  Paintitt 
on  Glass  and  various  Metals  and  Textiles,  as  well  ab 
on  Wood. 

Part  IV.  treats  of  Finishing  and  Ornamenting 
Furniture  and  Cabinet  Articles,  tells  How  to  Prepare  the  Materials,  what  Tools  to  Use  and  How  to 
Use  Them.  This  covers,  among  other  things  the  Proces-ses  of  Bleaching,  Darkeninp,  Staining,  Fill- 
•  in:r,  Graining,  Veneering,  Marqueterie  Work,  Buhl  Work,  and  Inlaying  of  all  sorts.  Recipes  for 
Varnishes,  Htaius,  Cements,  etc.,  and  for  Removing  Stains  and  Reviving  Leather,  and  Cloths,  will 
be  invaluable  in  any  family. 

Part  V.  is  a  complete  Instructor  on  Horse  Shoeing,  teaching  what  every  Owner  of  a  Horse 
as  well  as  every  Horse-Shoer  should  know.  Thirty  pages  are  devottd  to  the  Diseases  of  and  Ac- 
jCidentsto  the  Horses  Feet,  written  by  a  Practicing  Veterinarian  of  successful  experience. 

Part  VI.  treats  of  Soap- r.Iaking  and  is  jireparcd  as  a  Guide  for  Families  and  Small  Manufac- 
turers. It  tells  how  to  make  all  sorts  of  Plain,"  Fancy  and  Medicinal  Soaps,  Emulsions  and  other 
cubs' itutes,  including  Washing  Fluids. 

Part  VII.  comp -ises  a  hundred  pages  on  Candy-Making,  which  will  afford  Pleasure  and  may 
casMy  be  turned  to  Profit.  Complete  instruction,  covering  Syruj^s  and  Creams,  Pastes  and  Ices,  as 
well  as  Cndy,  that  it  will  serve  the  needs  of  C  'Ufectioiiers  as  well  as  Families. 

Part  VIII  is  a  Practical  Treatise  on  Baking,  giving  Plain  and  Explicit  Instructions  for  making 
and  Bi'dngErsry  Variety  of  Bread,  Cake  aud  Cracker,  Pies  and  Pastry. 

Part  IX.  treatsof  Taxidermy  and  its  kindred  Aits,  bein?  a  Practical  Working  Guide  for 
Colljcting.  Prop  iring  and  Preserving  all  kinds  of  Animals,  Birds,  Reptiles,  Insects,  Etc.  The 
In?;truetion  is  intended  for  Beginners,  who  have  had  no  Previous  Lesscts  or  Practice,  but  it  is  so 
Full  and  tliorou;^h  that  even  experts  will  find  it  of  value.  The  Young  Folks  will  find  in  these  pages 
Equipment  for  a  most  Interesting  Pastime  that  may  easily  be  made  the  source  of  a  Large  Income. 
Added  to  all  are  nearly  a  Hundred  Pages  of  S'jcrets  Worth  Knowing,  containing  a  Collection  n' 
Most  Valuable  Recip'"8  for  Making  AH  Sorts  of  Articles  that  are  in  Constant  Demand,  and  for 
which  W9  have  frequently  to  pay  Exhorbitant  Prices.  This  book  also  contains  a  chapter  on  Tanning, 
explaining  how  Tanjun  is  obtained;  Salting  Hides;  Tanning  Skins  with  Fur  on  and  several  pro- 
cesses for  Tanning  Leather.  Also  a  chapter  on  lirsTic  Fences  and  Gates  with  Illustrations  of  same. 
»  T'lis  IS  but  a  Bare  Suggest  ion  of  what  is  contained  in  This  Remarkab'e  Vohmi'*.  Tlie  Inst  ruc- 
tion is  all  by  Experts  ;  the  Information  we  Gunrantee  to  be  Reliable.  No  Other  Twelve  Books  in 
the  World  contains  so  much  of    Practical   Value.     876  Pages.    Large  12mo.    Bound  in  Cloth, 

Price,  $2.50  postpaid. 

ordersto  The  Western  Painter 

CHICAGO 


PRACTICAL  CARRIAGE  AND  WAGON  FAINTING. 

Iffi  EXACTLY     RIGHT  \|/ 

*  — ', i*/ 

ffi  Varnishes  \i 

9s     t?^ .         Waa  i^/ 


%  Carriage          pctSI  \^ 

^  Painters.  j{j 

5Jx  76  YEARS^  EXPERIENCE   IN    EVERY  CAN.  J}- 

^  WEARING  BODY  i^/ 

*  ...  \*/ 

Ijjl  Whose    working    qualities    are    not  yjf^ 

^  equaled.     Less  liable  to  "trick "  than  (^/ 

/p  any    other.     Dries   free   over    night,  yj^'f 

infi  Can    be    run    out    in    three    or   four  \j^ 

/f\  days.  Vl) 

3J  BLACK  RUBBING  yt? 

/f^  Unequaled  in  intensity  of  color,work-  yji'f 

If  ing  qualities,  absolute  uniformity  and  \|i/ 

(fi  the  perfection  of  surface  obtained.  \|/ 

;!•  ROUGHSTUFFS  >}/ 

(fl  That  produce  the  best   possible  sur-  \[|jf 

(||i  face  for  the   color,  with  the  least  pos-  yjjf 

^  sible  labor.  \|if 

i  Edward  Smith  &  Co.,  I 

i|y  VARNISH  MAKERS  AND  COLOR  GRINDERS.  ^|) 

2J  45  Broadway,  NEW  YORK,  Vjl 

jly  59  Market  Street,  CHICAGO.  ^^y 


PBACTICAL  CARRIAGE  AND  WAGON  PAINTING.  xx 

LETTER  PATTERNS  IZ^^^'T, 


Letter  Patterns  for  Carriage  Painting  are  now  used  by  experienced  worl<men  wiio  want  a  time- 
saving  method,  as  well  as  by  beginners  who  have  not  time  to  learn  the  trade  by  the  old  way. 
They  are  cut  from  extra  durable  pattern  paper,  and  are  all  ready  for  use  wlicn  they  reach 
you.    Each  alphabet  contains  all  the  letters  and  the  cliaracter  &.  ,     .      , 

To  Paint  Signs,  you  should  place  the  letters  in  position  on  the  board  to  form  the  desired  word.s 
mark  with  pencil  oi-criiyoii  round  each  leiicr  to  j.^t't  J  licj>ui  line,  ninovcj  he  pal  tern  jtnd 
paint  in  the  color.    flM»«Miih|Bsft(*^-.   •    ^M-  i*wi"«"#iwi*'i*»«^"^i^^**«*«»''^  .mmm'^^mam 

To  Malvc  a  Shade:  After  markiuK  out  the  letter,  drop  your  pattern  as  low  as  necessary  and  move 
to  the  riixht  or  left,  penciling  round  the  ri).'hl  or  left  and  bottom  edges  only  ;  now,  with  a 
strait;lil-edge.  (Uit  in  the  corners  on  an^Me  as  shown  ill  cuts  of  tifjure  5  and  (i. 

The  following;  cuts  represent  some  of  the  most  useful  styles,  with  sizes  and  prices  of  each  aliibalxa 


$0.33 


6  iDcb  Capitals. . .  .$1.00 
Lower  case  u>  match  75 
9  incb  Capitsla  ...  1.30 
Lower  case. ...  1  00 

12  iDcl)  Capiuli  2.00 

Lower  case  ...  1.85 


1  inch  Capitals J0.89 

Lowercaie ••        « 

6  inch  Caps l-J* 

Lowercase ^ 

8  inch  Caps l-JJ 

Lower  caae  1  ** 


2  Inch,  pe 


J8 


Stencils  of  any  of  the  above  alphabets  of  Letter  P  tterns  will  be  cut  on  the  very  best  prepared 
•  Stencil  Paper  at  double  the  price  quoted  for  the  patterns;  all  stencils  are  shellaced  ready 
for  use  in  oil  or  water  colors. 

TRANSFER  ORNAMENTS,  OR  DECALCOMANIE,  have  been  used  for  so  many  years  for  Carriage 
and  Sit,Mi  Decoration  that  they  are  now  a  staple  article  in  the  paint  shop,  and  the  iransfer 
letters  will  .soon  be  as  popular,  for  any  person  who  can  use  one  can  use  tne  other.  1  hey  make 
elegant  signs  on  wood,  tin,  or  any  smooth  surface,  and  another  kind  for  the  inside  of  s'ass 
are  very  tine,  and  guaranteed  to  wear  as  well,  or  better  than  work  done  by  hand  l)y  tlie  most 
experienced  sign  writer.  A  list  of  prices,  sizes,  and  colors,  with  full  directions  for  applying. 
will  be  found  on  pages  42  to4<)  of  my  larire  iU-pai;e  cataloiiue.  which  will  be  senl^FRhh  to  any 
person  applying  for  same.  Spe<-ial  orn;iii,.  iits.  trade-marks  and  other  transfers  inade  to 
order  in  quantities.  We  manufacture  and  sell  all  kinds  of  Si-:iis  and  Si-n  Letters  in  Knamel_ 
Aluminum,  Wood,  etc.  ^  ^  _.  i ...  d . 

If  you  wish  goods  fm-warded  bij  luail  be  sure  to  send  stamps  or  nnnwii 
to  pay  charges  or  they  icill  be  sent  by  express. 


WM.  SEDGWICK, 

260  Clswrk  Street.    -    -     CHICAGO. 

^-Send  for  64=Page  Catalogue  of  Fresco  Stencils,  Signs  and  Sign  Letters 


PJiACTJCAL   CAUltlAtiE  AM)    \\A(^()X  PAINTING. 


\ti  {tt  tItt  tItt  \ti  tlr?  tir?  \t7  %ti  sir?  %t\  tir?  tir?  sir?  ''^^^  ^'^■^  ^'^-^  ^'^^ 

Tv  T+7  TiJ  \!|!T  \|/ 


THE  KING  PATENT  CHISELLED  VARNISH  BRUSH 


This  brush  is  made  on  our  full  centre  patent :  it  is  brass  bound, 
and  the  greatest  pains  taken  in  the  selection  of  stock  and  making. 
It  now  stands  at  the  head  of  this  class  of  brushes,  being  especially 
adapted  to  piano,  car.  and  coach  work. 

"The  King"  Patent  Chiselled  Varnish   Brush 

The  following,  written  by  one  who  is  an  acknowledged  authority 
on  the  sul)ject  of  varni.shing.  will  be  of  interest  to  those  who  want 
the  best  brush  made. 

"THE  KINO"  VARNISH  BRUSH. 

"  It  is  seldom  that  we  so  readily  commend  a  new  tool  as,  in  this 
instance,  we  do  the  patent  varnish  brush  of  Messrs.  .Tohn  L.  Whiting 
^:  Son  Co.,  Boston,  >rass.,  which  they  arc  now  supplying  under  the 
name  of  'The  King.'  It  consists  of  an  oval  brush  bound  with  bra.ss, 
and  having  its  centre  well  tilled  with  bristles.  The  latter  is  a  new 
and  certainly  very  desirable  feature,  as  no  accumulation  of  dirt  or 
varnish  gum  can  find  a  resting  place.  The  bristle^  are  of  the  best 
(luality.  possessing  all  the  desired  elasticity,  and  appear  to  be  more 
firmly  held  in  place  than  is  the  case  with  many  oval  bruslies  we  liave 
u.sed.  The  bristles  are  evenly  disti-ibuted  throughout  the  brush, 
and  are  not  compres.sed  into  a  solid  ring  or  ferrule,  around  a  so-called 
reservoir  for  varnish  or  paint,  in  the  centre  of  tlie  brush.  These 
reservoirs  have  never  been  a  success,  and  the  aV)sence  of  one  in  'The 
King*  leads  us  to  particularly  admire  it,  for  our  experience  teaches 
us  tliat  a  brush  witli  a  solid  bristle  centre  will  carry  varnisli  better 
and  keep  in  better  order  than  one  having  a  central  space  or  reservoir. 
Besides  tliis,  such  a  brush  will  wear  more  evenly.  The  brush  is 
particularly  adapted  for  varnishing  large  panels  or  gears,  and  well 
merits  a  trial  V)y  varnishers."  F.  B.  GARDNER. 

If  you  are  not  using  Whiting's  Brushes  give  them  a  trial  and 
learn  tiieir  superior  working  (lualities  and  economy,  over  all  other 
kinris.     For  information  address  the  manufacturers. 

JOHN  L  WHITING  &  SON  CO., 

BOSTON,   U.  5.  A. 


\Vi  \Vl  \Vl  *^''    tTa  tT»  tT»  tT>  tT?  tT»  tT»  tT»  tTt  tTa  tTa  tf  j  iTj,  tTi 

*4L*  ^X)  *4L*  'J|L<  tJfJ  *Jf.*  'J|L*  '4L*  t!|!7t|J  *J|L»  'J|L'  '+*  '+*  'i*  '4'^  W  ^4'' 


PRACTICAL  CARRLViE  AND  WA(J0N  J'AINTING.  x  xii 

We  are  Headquarters  for 

Carriage  Painters'  S"PP''^s 

of  every  description 


We  are  Agents  fqr  the  following  SPECIALTIES 

Cn  ACH    cm   nr>ii.    IIM     IADAM    Munufactured  by   the   well-known   house  of 
V^V^/AV^II     ^WLV7K.O     ll>    J/Af/Al^     Wiidsworlh,  Howland  ^:  Co.,  (Inc.)  of  Boston. 

Mass.    8eiid  for  Sriinpli'  \Un>k  slinwiiif^  niiiiiy  new  color.s. 

CARRIAGE    VARNISHES    Mad.  ..y  tie  same  flm, 

ENGLISH  VARNISHES  i^'^;:  ^^  ^:^%  i^^Hr 

Knjr.     Highest  grade  A'arnishes  made. 

AUG.  BUHNE  <&  CO.'S  STEEL  WOOL  'i:^^^^,.''^^^Vi^. 

^^^^'^^^^n^r'i^^::  faultless  varnish  remover 

can  be  sent  prepiid  ff)r  35  cents. 

COACH  AND  CAR  STRICTLY  PURE  WHITE  LEAD. 

Heavy  body  and  finely  firound  for  Carriaj^e  Painters.     Write  for  tiuotations. 


Also  a  Full  Line  of 

BRUSHES      of  every  description. 

BRONZE    POWDERS    forstrlpin^^aMd  n„in^^ 
CHAMOIS    SKINS    English  and  French. 

PM I    I    P  D  ^    i>i"y  'i^nd  Ground,  for  Rough 
riL,L,ClV«-^    Stuff  and  Gear  Fillers. 

LPy^^p-    Gold.  Silver,  Aluminum. 

PUMICE  STONE     I'^^^^ioJ:'"''''  ""' 
RUBBING  FELTS  ^i!.SSs."^'. 


Wool, 
forms. 


SPONGES  ^l^^a 
Send  for  Carriage  Painters'  Net  Price=List.     It  is  FREE. 

GEO  E.  WATSON  CO. 

108  Lake  Street  CHICAGO 


xxiii  PRACTICAL  CAlililAdE  AM)   WAdOX  PAINTING. 


* 
* 


.*♦•■.  ."t*.  .'!'» t't'.  .'♦'<  ."t*.  .*t'^  ."t*.  ."t*.  ."t*.  .*♦*.  ."t*.  «•♦'.  .'*'.  .'♦'■■  ■'*'»  »*♦*■■  ■'♦'«  '"t*.  ."t*.  .'t'.  ."t*.  .'♦•■.  .*♦•.  .'i'-  .'i*.  .'♦'.  .*♦•. 

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t  *  ♦  t 

{l-j  Established  1832  Incorporated  1882  A\ 

I  VALENTINE  &  f  OMPANY 

'4'' 


VA'iTNSKES 


Manufacturers  of  High  Grade 


COACH  AND  CAR 


f  VARNISHES  AND  COLORS  I 


257  Broadway,  New  York 


■^      CHICAGO,  277  Dearborn  Street 


♦ 
♦ 


BOSTON,   170  Purchase  Street 

PARIS,  21   Rue  de  Lappe 

AMSTERDAM,   Prinsengracht  762 


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